臺灣2.5次元劇場發展現況之研究

Abstract

本研究聚焦於臺灣2.5次元劇場的發展現況，探討其製作流程、舞台呈現、觀眾接受度以及產業發展潛力。透過比較臺灣與日本2.5次元劇場在產業結構與實務操作上的差異，進一步分析本土IP改編劇場作品在實際推動過程中所面臨的挑戰與機會。研究問題包括：（一）臺灣在IP選擇、劇本改編與角色詮釋上的策略與考量；（二）觀眾對本土化2.5次元劇場的接受度與消費行為；（三）臺灣2.5次元劇場如何推進跨媒體合作與促進產業成長。本研究採用個案研究法與深度訪談法，選擇三點水製藝文化有限公司與開拓劇場為核心個案，訪談製作人、編劇與導演，從產業實務角度描繪出臺灣2.5次元劇場的發展樣貌與核心課題。研究發現如下：首先，臺灣2.5次元劇場尚未建立明確分工體制，製作流程高度集中且具彈性，雖提高靈活度，但也使核心團隊承擔較大風險與壓力。其次，市場接受度呈現跨圈層、跨年齡的多元樣貌，觀眾並不限於原作粉絲，強調文化貼近性與本土題材反而有助於吸引更多元的觀眾群。第三，儘管具備跨媒體整合與文化轉譯潛力，目前仍受到資源分配不均與政策支持不足的限制，現有補助制度大多集中於製作階段，缺乏後續推廣與長期產業支持。整體而言，臺灣2.5次元劇場仍處於探索與建構階段，展現出高度的創新活力與跨界合作潛能。若能進一步完善制度、強化專業分工、優化觀眾經營策略，將有助於推動臺灣2.5次元劇場朝向更具規模化與永續性的發展模式。

This study examines the current development of Taiwan's 2.5D theater, focusing on its production processes, stage performance, audience reception, and industry growth potential. By comparing the industry structures and operational practices of Taiwan and Japan, the study further analyzes the challenges and opportunities faced by local IP-based theater adaptations. The key research questions include: (1) What strategies and considerations guide Taiwan's selection of IPs, script adaptations, and character interpretations? (2) How do audiences respond to localized 2.5D theater productions, and what are their consumption behaviors? (3) How can Taiwan's 2.5D theater foster Media Mix collaboration and drive industry development? This study employs a case study approach combined with in-depth interviews, focusing on two key cases: 3Aqua Production Co., Ltd. and Frontier Anime Co., Ltd. Interviews were conducted with producers, scriptwriters, and directors to provide a practical view of the current landscape and key issues in Taiwan's 2.5D theater scene. Findings reveal the following: First, Taiwan’s 2.5D theater lacks a clearly defined division of labor. Although its production process is highly flexible, this often results in concentrated risks and burdens on a small core team.Second, the audience base exhibits a diverse mix across different fan communities and age groups. Cultural relevance and locally themed content have proven effective in attracting broader audiences beyond the core fanbase of original IPs.Third, despite strong potential for Media Mix integration and cultural translation, the industry is constrained by uneven resource allocation and limited policy support. Existing subsidies largely focus on production stages, with insufficient support for post-production promotion and long-term industry development.In summary, Taiwan’s 2.5D theater remains in an exploratory and formative stage, demonstrating strong creative energy and significant potential for cross-sector collaboration. With more comprehensive institutional development, enhanced professional division of labor, and improved audience engagement strategies, Taiwan’s 2.5D theater has the potential to evolve into a more scalable and sustainable industry.