音樂劇團之經營與發展—以『大風劇團』為例

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Title:	音樂劇團之經營與發展—以『大風劇團』為例
Other Titles:	The Management And Development of Musical Opera Team--take＂Dafeng Theatre Company＂ as an example
Authors:	林鴻君 Lin, Hung-chun
Contributors:	美學與藝術管理研究所陳泓易;何康國 Hung-yi Chen;Kang-kuo Ho
Keywords:	文化霸權;大風劇團;總體藝術;炫耀性消費;音樂劇 musical;total art;conspicuous consumption;Dafeng Musical Theater;cultural hegemony
Date:	2007
Issue Date:	2015-08-06 13:48:06 (UTC+8)
Abstract:	音樂劇在台灣的蓬勃發展，一來是因為表演場所增加，二來拜音樂流行文化之賜，與音樂劇相關的文化商品熱賣，未演先轟動，其帶動音樂劇票房一票難求的風潮。近年來可說是台灣的音樂劇新紀元，正因為音樂劇的觀眾族群相當多元化，藝術經紀公司為了搶攻市場，引進了許多經典明名劇，例如國際級音樂劇「歌劇魅影」來台演出，演出檔期長達一個月，票房場場爆滿，而後「吉屋出租」、「鐘樓怪人」、「貓」、「媽媽咪亞」等陸陸續續抵台演出，積極的在台灣開發音樂劇市場。而這股音樂劇浪潮，對台灣本土劇團的生存勢必造成強烈的衝擊，面對這些國外團體的嚴重威脅。國內劇團紛紛跟進製作音樂劇，轉換劇團經營模式，目前國內製作音樂劇數量最多的表演團體則是以大風劇團為代表。在外來霸權競爭的環境裡，國內音樂劇團如何經營與發展，找出定位走出風格，以提高國內音樂劇的品質，成為可被觀眾接受的劇種，是國內音樂劇團努力的方向。本研究從西方音樂劇的起源與發展做簡要的論述，來比較分析國內音樂劇的來龍去脈，而後再將焦點放在音樂劇團在台灣之經營與發展，以『大風劇團』作為主要研究參考，試圖解決國內音樂劇團目前所面臨的種種困境及經營的盲點。　　　　本論文主要分為五章，第一章緒論，說明論文的研究動機、目的、方法及研究範圍與限制、文獻回顧探討等，第二章西方音樂劇之發展概述，是淺談西方音樂劇的歷史與東西方的交流轉變，第三章談音樂劇在台灣的製演現況，第四章進入主要討論的案例，從大風劇團的組織管理談國內音樂劇的生態發展，最後一個章節則是針對國內音樂劇團的經營與發展給予研究結論與未來建議。　　Musicals have been flourishingly developed in Taiwan mainly due to the increase of performing halls and the promotion of popular culture of music. Cultural products related to musicals often become bestsellers even before the presentation, making almost every musical a blockbuster. In recent years, the development of Taiwan’s musicals has entered a new epoch. As the audience for musicals is composed of people from all walks of life, art agency companies have introduced many classical musicals to expand their market share. For instance, the internationally renowned musical, “Phantom of the Opera”, was performed in Taiwan for one month, and every session was full. Later, many other famous musicals, such as “Rent”, “Notre Dame”, “The Cat”, and “Mamma Mia” were also brought into Taiwan one after another to proactively develop the market of musicals in Taiwan. However, this wave of musicals has caused serious impact on the survival of local performing groups. In face of the threat posed by these foreign groups, local performing groups have followed their step to produce musicals and transform their management models. Currently, Dafeng Musical Theater a representative local performing group that has produced most musicals in Taiwan. In the environment full of the hegemony of foreign cultures, how domestic musical performing groups manage and develop, position their style, enhance performance quality, and produce the type of performance widely accepted by audience will be the directions for local musical performing groups. In this study, the origin and development of western musicals were briefly introduced to compare and analyze the evolution of domestic musicals. Later, the focus was placed on the management and development of musical performing groups in Taiwan, using Dafeng Musical Theater as a case, in an attempt to solve the predicaments and blind spots in managements facing local musical performing groups.　　　　This paper was composed of five chapters. The first chapter elaborated the research motivation, objectives, method, scope, limitation, and literature review. The second chapter provided a brief introduction of western musicals, including the history of western musicals and the transformation in the exchange between western and eastern musicals. The third chapter probed into the current production and performance of musicals in Taiwan. The fourth chapter focused on the discussion of the performing group, Dafeng Musical Theater, covering from organizational management to the ecological development of domestic musicals. In the last chapter, based on the management and development of domestic musical performing groups, conclusions and suggestions were proposed.
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