以公共領域觀點探討臺中國家歌劇院「遇見巨人」系列之節目規劃理念

Abstract

巴爾梅（2019）在其著作《劇場公共領域》之作者序提到：「運作良好的公共領域是任何民主體制之基石，通常代表著公民以私人身份，不分性別、種族、信仰、或種族階級，得以參與公眾利益事務討論之情形。（頁13）」臺灣在數百年來歷經清朝，日本，國民黨執政以及全民開放民選總統，卻在近二十年內開始才逐漸有保障：2013年文化部重啟文化基本法的內部草擬程序，2014年成立國家表演藝術中心，2017年臺中歌劇院開始推行主節目，2019年文化基本法正式上路。文化基本法第三條更言明：「人民為文化與文化權利之主體，享有創作、表意、參與之自由及自主性。」然而，臺中國家歌劇院為臺灣三大國家級劇院之ㄧ，作為表演藝術領域的領頭羊，其節目規劃方法與其背後理念，是否有符合文化基本法的內涵，並與公共領域產生合宜的關係，就有需審視與進步的空間。故本研究旨在探討臺中國家歌劇院「遇見巨人」系列之節目規劃方法與背後理念，茲以哈伯馬斯之公共領域理論與巴爾梅之劇場公共領域為架構，審視其理念與思辯其節目規劃方法，是否符合文基法的期待，形塑（或是壓抑）公民在公共領域之自主性與其角色定位，檢視其作為國家級劇院的角色與任務，能否達到引領臺灣公民（而非填充票房數字的觀眾）走進劇院之願景，而經研究探討後得之結論為：一、 臺灣國家級劇院具實踐劇場公共領域之潛力二、 臺中國家劇院之節目行銷策略缺乏公共性三、 「遇見巨人」系列節目之策展比重疑慮希望能藉此研究給予臺中國家歌劇院在節目規劃與行銷上些許建議與參考。In the author's preface to Theater and the Public Sphere (Balme, 2019), it is stated that a well-functioning public sphere is the cornerstone of all democratic system, typically representing the condition where citizens, in their private capacity, participate in discussions of public affairs regardless of gender, race, belief, or class (p. 13). Taiwan, having accumulated over a century of cultural history since the implementation of democratic policies, has only gradually started to establish cultural protections in the past two decades: in 2013, the Ministry of Culture resumed internal drafting of the Cultural Basic Law; in 2014, the National Performing Arts Center was established; in 2017, the Taichung National Theater launched its major programming; and in 2019, the Cultural Basic Law was officially implemented. Article 3 of the Cultural Basic Law further stipulates:"The people are the subjects of culture and cultural rights, and enjoy freedom and autonomy in creation, expression, and participation." However, as one of Taiwan's three national theaters, the Taichung National Theater plays a leading role in the performing arts sector. It is important to examine whether the theater's programming methods and underlying philosophy align with the content of the Cultural Basic Law and foster an appropriate relationship with the public sphere. This is an area thatrequires further scrutiny and development.Therefore, this study explores the programming methods and underlying philosophy of the Taichung National Theater's "Fall for Great Souls" series. Using Habermas' theory of the public sphere and Balme's concept of the theater public sphere as frameworks, this study will critically examine whether the theater's philosophy and programming approach align with the expectations of the Cultural Basic Law and shape (or suppress) citizens' autonomy and role in the public sphere. The study will assess whether the theater, as a national institution, fulfills its mission of guiding Taiwanese citizens (rather than merely filling theater seats with an audience) into the theater. The conclusions drawn from the research are as follows:1. Taiwan's national theaters possess the potential to practice the theater public sphere. 2. The marketing strategies of the Taichung National Theater lack public awareness. 3. There are concerns regarding the curatorial weight of the "Meeting Giants" series. This research aims to provide the Taichung National Theater with recommendations and references for future programming and marketing strategies.