邊瑞芬Bain, Cheryl Ruey-Fen徐嘉均Hsu, Chia-Chun2023-12-082023-08-142023-12-082023https://etds.lib.ntnu.edu.tw/thesis/detail/7dff08ca9de38f377635544085a512c6/http://rportal.lib.ntnu.edu.tw/handle/20.500.12235/121761本研究根據瑞典學者Jan Carlzon (李田樹（譯），1994)提出的關鍵時刻（Moment of Truth, MoT）理論，探討京劇表演藝術節目的觀眾，其體驗行為以及觀眾在觀賞京劇時的體驗感受。研究分析了觀賞前的零關鍵時刻（Zero Moment of Truth, ZMoT）、觀賞中的第一關鍵時刻（First Moment of Truth, FMoT）以及觀賞後的第二關鍵時刻（Second Moment of Truth, SMoT）分析觀眾決定觀賞表演藝術節目的相關性和影響因素。 研究方法採用量化方式，通過線上和紙本問卷訪談收集初級資料，在2023年4月28日至30日期間，針對國光劇團京劇「誰是英雄」表演節目的觀眾進行了調查。在2460位觀眾中，計有187位觀眾回答了問卷，有效問卷數量為187份，有效回答率為100%。 觀眾對於表演藝術節目產生的體驗感受，關鍵時刻的出現使觀眾對表演藝術節目產生了信任。本研究通過科學計量研究的方法對這些體驗感受進行了分析，並以關鍵時刻作為因素，以驗證性因素研究方法發現，除「SMoT第二關鍵時刻」、「ZMoT零關鍵時刻」、「FMoT第一關鍵時刻」形成構面外、「ZMoT零關鍵時刻」延伸出主動性以及被動性特質，一共產生四個構面，其中可解釋構面變異量的順序為SMoT第二關鍵時刻大於ZMoT主動性大於FMoT第一關鍵時刻大於ZMoT被動性。研究結果顯示，觀察的人口特徵中，年齡以及個人年收入對ZMoT主動性關鍵時刻、SMoT第二關鍵時刻有顯著性差異。ZMoT主動性關鍵時刻、FMoT第一關鍵時刻和SMoT第二關鍵時刻對於觀眾決定觀賞京劇表演藝術具有正相關性，但其中，ZMoT被動性關鍵時刻與其他三個構面相關性並無顯著，FMoT第一關鍵時刻與SMoT第二關鍵時刻的相關性最高，FMoT對於未來觀眾的觀賞行為具有最大影響，影響觀眾下次購票入場的意願。This research is based on the theory of"Moment of Truth" (MoT) proposed by Swedish scholar Jan Carlzon (1994). It explores the audience of Chinese Opera performances, their experiential behavior, and their feelings during watching Chinese Opera. This study analyze the relevance and influencing factors of the Zero Moment of Truth (ZMoT) before watching, the First Moment of Truth (FMoT) during watching, and the Second Moment of Truth (SMoT) after watching performance, which determine the audience's decision to Chinese Opera program. The research employed a quantitative approach and collected primary data through online and paper questionnaires. The survey was conducted from April 28th to 30th, 2023, targeting the audience of the"Who is the Hero" Chinese Opera performance by the National GuoGuang Opera Company.There was a sample , among of 2460 attendees, 187 participants responded to the survey, resulting in 187 valid questionnaires in a response. The audience's experiential feelings towards the performing arts program were influenced by the appearance of the "Moment of Truth," which engendered trust in the performance. Using scientific metrics, this study analyzed these experiential feelings and identified four dimensions based on the Moment of Truth as a factor through confirmatory factor analysis. These dimensions were"Second Moment of Truth in SMoT," "Activated in ZMoT," "First Moment of Truth in FMoT," and "Passivied in ZMoT." The results indicated that the sequence of explained variance of these dimensions was SMoT > Activated in ZMoT > FMoT > Passivied in ZMoT. The research findings indicate that among the observed demographic characteristics, age and personal annual income show significant differences in relation to the activated moments of truth ZMoT (audience emotional engagement with Chinese opera performances) and the second moments of truth SMoT (audience social media interaction with Chinese opera performances). There is a strong positive correlation between activated moments of truth ZMoT, the first moments of truth of FMoT (audience familial heritage engagement with Chinese opera performances), and the second moments of truth SMoT in determining audience decisions to watch Chinese opera performance art. However, the passived key moment of ZMoT does not show significant correlations with the other three dimensions.The highest correlation is observed between the moments of truth of FMoT and the second moments of truth SMoT. FMoT has the most substantial impact on future audience viewing behavior and influences their willingness to purchase tickets and attend future performances.關鍵時刻表演藝術體驗經濟京劇Moments of TruthExperience EconomyChinese OperaPerforming Artsetd