participant-observer quantitative study qualitative research (thick description) participant observation )

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钝栽庄
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1 13 Journal of Theater Studies DOI: /JOTS 臺灣現代劇場的產業想像 : 一個參與觀察者的劇場民族誌初步書寫 * 前言 : 一個政策, 各自表述 creative cultural industry (2010) 1 * Art as Industry?: a participant-observer s account of the changing courses of modern theatre in Taiwan Staging the Modern: Theatre, Intermediality, and Chinese Drama NTU

13145 臺灣現代劇場的產業想像 : 一個參與觀察者的劇場民族誌初步書寫 * 前言 : 一個政策, 各自表述 creative

2 participant-observer quantitative study qualitative research (thick description) participant observation )

3 ethnography 2004a

5 一表演之為藝術的政策語境與歷史脈絡 ( 一 ) 以藝文補助取代政黨監管的歷史脈絡 -149-

6 NEA, National Endowments for the Arts

7 National Endowment for the Arts

8 1982 vs. 6 ( 二 ) 表演之為藝術的文化語境 National Endowment for the Arts not-for-profit theatre National Endowment for the Arts)

9 7 7 David M. Conte and Stephen Langley, Not-for-Profit Professional Theatre, Theatre Management (Hollywood, Cal.: EntertainmentPro, 2007), pp

10 -154-

12 FRANZ vs

14 二現代劇場工作者的產業想像 ( 一 ) 不可數的文化產值 Cultural Outcome Fa :

16 21 qualitative studies ( 二 ) 專業化的挫折與產業化的想像 CD

19 25 Fa Fa :

21 小結 : 產業想像實驗中

22 Artaud Stanislavski 33 case NEA

23 s-1910s

24 -168-

25 -169-

26 臺灣現代劇場的產業想像 : 一個參與觀察者的劇場民族誌初步書寫 participant-observer participant observation

27 thick description 關鍵字 : 文化創意產業表演藝術現代劇場文化政策民族誌 -171-

28 Art as Industry? A Participant-observer s Account of the Changing Course of Modern Theatre in Taiwan Katherine Hui-ling CHOU Professor, Department of English, National Central University To chart the changing ideas of theatre, whether as art or industry, this paper borrows the method of participant observation from cultural anthropology, investigating Taiwan s cultural policies in the past three decades. I begin by overviewing the changing policies on culture and arts since 1980s. I then conduct thick-description of oral histories of some twenty or more theatre workers actors, designers, administers, director, with whom I have closely collaborated with for over 15 years. I argue that whereas the discourse of creative and cultural industries in the 2000s coincides with the emergence of Taiwan s theatre professions, the governmental subsidies for performing arts have actually long prepared for the modern theatre to thrive. It has long been overlooked that the ideology generated by art subsidy impedes the recent cultural policy of creative industry. My discussion also integrates information drawn from a recent experiment, which I conducted, on creating a performing arts cluster practiced on the NCU campus. My ultimate goal is to map out the route of Taiwan modern theatre s striving for its first professionalism and hopefully to begin exchange of ideas between the art community and the governmental Act for Development of Cultural Creative Industries issued in Keywords: creative and cultural industries performing arts modern theatre cultural policy ethnography -172-

29 徵引書目 ~ NSC H NSC H ~2005 I&II H H After the Heteroglosia: 2006 Conference on Modern Theater in Taiwan Fa :

30 Banks, M., Calvey, D., Owen, J. and Russell, D. Where the Art is: Defining and Managing Creativity in New Media SMEs. Creativity and Innovation Management 11 (2002): doi: / Conte, David M. & Stephen Langley. Theatre Management. Hollywood, Cal.: EntertainmentPro, Cunningham, Stuart D. From cultural to creative industries: Theory, industry, and policy implications. Media International Australia Incorporating Culture and Policy: Quarterly Journal of Media Research and Resources 102 (2002): Li-Min Hsueh, An-Loh Lin, Christopher Taylor, eds. The Creative and Cultural Industries in Taiwan, White Paper on Small and Medium Enterprises in Taiwan, (Taipei: Small and Medium Enterprise Administration, Ministry of Economic Affairs, 2004): xitem=353&ctnode=307&mp=2 [accessed September 10, 2012]

中國博物館的行政體制與發展現況

中國博物館的行政體制與發展現況 1949 1949 21 1955 50 27 28 1958 1961 350 1962 221 2005 1983 (ICOM) 29 1 1988 (2001)(2002) 1 2002 30 (2003) (GA27-2002) (2003) (2004) (2005) (2007) 1 3 31 4 30 5 31 (GA27-2002) 1. 31 2008 3 20% 60% 80%