李和莆Hope Lee蔡宜儒Yi-Ru Tsai2019-09-062013-2-62019-09-062013http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0699900091%22.&%22.id.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/108782在表演藝術領域提倡「跨界」、「跨領域」的二十一世紀，隨著人們對於多元藝術結合的接受度越來越廣，音樂劇場、多媒體互動藝術等漸漸受到重視，各類以此為號召的演出形式目不暇給。此外，隨著「全球在地化」思潮興起的「文化產業」，各國政府紛紛提出以推動產業與藝術結合的相關政策。要之，本論文由表演藝術切入，探討其定義及分類方式；進一步將範圍聚焦至音樂劇場之演出類型及各國發展現況，繼而探討對於創作此類作品應如何安排各項表演藝術元素，方能對於衡量各項藝術形式之比重時，保持平衡。接著延伸探討文化產業，研究「文化產業」應如何承繼藝術表演，成為另類發展趨勢。 綜上，為期落實全球在地化之主流思潮，爰以取材自台灣傳說故事，透過台灣各領域藝術家共同創作的音樂劇場《水鬼城隍爺》為樂曲分析之核心，完整分析作品中各表演藝術元素與音樂的相互關係，尤其集中於文學、舞蹈、數位互動科技及造型藝術。最後，提出筆者對於台灣表演藝術及文化產業發展之研究心得及未來展望，作為本研究論文之結論，敬請方家高明教正。In the twenty-first century, “Interdisciplinary” has been advocated in the field of performance art with increasing acceptance of diverse artistic combination, for examples, “Musical Theater”, “Multimedia Interactive art”. “Interdisciplinary” is not only gradually drawing more attention, but also being used as one of the performing forms. In addition, with the rising “Global Localization”, “Cultural Industry” has become prevailed. Government in different countries encourages the integration of arts and relevant industrial field. In the first part, this paper mainly discusses the definition and the classification method of performing arts and performance art. In the second part, the scope will be focused on the types of “Musical Theater” and on the current status of development. In the last part, the discussion context will then be extended into “Cultural Industry” in a broader point of view. Furthermore, by defining the cross-border connotation of performance art, and by exploring how the weighing of the performance art, the paper then is equipped to measure and maintain the balance of it. In this study, it mainly focus on how to inherit the essence performing arts in “Cultural Industry”, while at the same time, becoming an alternative trend in the near future. In order to implement the idea of global localization, the author not only takes Taiwanese legends into consideration, but also takes the co-creation of Taiwan area artists, called Water Ghost, City God as the core analysis for music and performance art. To be more specific, the elements include literature, dancing, and digital interactive technology and plastic art. Last but not least, the conclusion is based on the author’s reflection and future prospects toward Taiwan’s performance art and cultural industry. Your advice is hereby earnestly solicited.表演藝術跨領域音樂劇場文化產業《水鬼城隍爺》Performance ArtInterdisciplinaryMusic TheatreCulture IndustryWater GhostCity God