表演藝術策展：太陽劇團策展設計

The Curation of Performing Arts: Curatorial Design of Cirque du Soleil

王台瑞(Tai-Jui Wang)；楊舒晴(Shu-Chin Yang)

太陽劇團 ； 表演策展 ； 數位策展 ； 文化創意產業 ； Cirque du Soleil ； Performance Curation ； Digital Curation ； Cultural Creative Industry

設計學報

18卷4期（2013 / 12 / 01）

65 - 86

繁體中文

在新時代的數位媒體匯流下，表演藝術團體應用現今的網路行銷觀點和做法，將表演內容擷取予以數位化的方式來呈現，是否真正做到以數位方式儲存的結構化資料，有效率的發揮嶄新雲端科技整合觀念及分析方法。有鑑於此，本研究以國際知名表演藝術產業團體，加拿大「太陽劇團（Cirque du Soleil）」，為目標個案進行探討。第一階段資料蒐集將以SWOT分析官方網站之架構與網路數位內容分析；第二階段則依據初步數位內容分析後，擬妥訪談問題並邀請「太陽劇團」負責數位媒體資源之管理人員受訪，另亦邀請曾加入該團體之臺灣籍表演藝術家受訪；第三階段則以質性研究方法透過前二個階段之程序所整理的資料進行內容分析。本文主要探討太陽劇團如何以系統化方式執行表演策展，並分析在數位資源應用面向之數位策展相關內容，期能以「太陽劇團」如此具有國際性文化創意產業價值與經濟產值的表演藝術團體，讓臺灣不論是觀光劇場定目劇的經營或表演藝術團體的表演策展得以仿效學習之。

In the new era of media convergence, the performing groups that apply Internet marketing and other ideas to show the content or to be retrieved in digitalized way, have not really touched an integration of virtual community for the application of new concepts and methods of cloud computing. Therefore, this study focuses on an internationally renowned performing arts industry groups ”Cirque du Soleil” from Canada. As a case study, in the first phase SWOT analysis is carried out through its official websites structures and other Internet contents. In second phase, official invitations are proposed for interviews of ”Cirque du Soleil” who are responsible for the management of digital media resources, and performers from Taiwan who have joined the Cirque du Soleil. In third phase, qualitative research methods are adopted for coding and analysis of the data collected in the first two phases. This paper mainly discusses how ”Cirque du Soleil” operates performing arts curation, and analyzes the digital resource applications for the relevant content. Thus, for such an international performing group of cultural and creative industries, its value and market strategies could serve as a reference for the scenario operation of tourism theaters in Taiwan.

1. 林榮泰(2011)。序－文化創意產業的本質與研究。設計學報，16(4)，i-iv。
   連結：
2. 林銘煌(2012)。極簡主義在設計上的形式表徵與發展趨向。設計學報，17(1)，79-99。
   連結：
3. Digital Curation Centre (n.d.). The digital curation lifecycle. Retrieved July 1, 2013, from http://www.dcc.ac.uk/resources/curation-lifecycle-model
4. 辜公亮文教基金會（ 無日期） 。臺北戲棚。上網日期： 2013 年7 月5 日。網址：http://www.taipeieye.com/。The Koo Foundation (n.d.). TaipeiEYE. Retrieved July 5, 2013, from http://www.taipeieye.com/ [in Chinese, semantic translation]
5. 國立臺灣戲曲學院（ 無日期） 。碧湖劇場。上網日期： 2013 年7 月5 日。網址：http://b008.tcpa.edu.tw/files/11-1008-569.php。National Taiwan College of Performing Arts (n.d.). Bi-Hu Theater. Retrieved July 5, 2013, from http://b008.tcpa.edu.tw/files/11-1008-569.php [in Chinese, semantic translation]
6. Cirque du Soleil (n.d.). Cirque du Soleil. Retrieved July 10, 2013, from http://www.cirquedusoleil.com/
7. Dobre, C., & Xhafa, F. (in press). Intelligent services for big data science. Future Generation Computer Systems., Corrected Proof, Available online 9 August 2013, from http://www.sciencedirect.com/science/article/pii/S0167739X13001593
8. Wiener, N. (1948). Cybernetics; or control and communication in the animal and the machine. Oxford, England: John Wiley.
9. Hausman, A.(2011).Attribute satisfaction and experiential involvement in evaluations of live musical performance: Theory and managerial implications for services.Journal of Retailing and Consumer Services,18(3),210-217.
10. Holbrook, M.(1996).Customer value: A framework for analysis and research.Advances in Consumer Research,23(1),138-142.
11. MacNab, B. R.,Worthley, R.(2012).Individual characteristics as predictors of cultural intelligence development: The relevance of self-efficacy.International Journal of Intercultural Relations,36(1),62-71.
12. Mathwick, C.,Malhotra, N.,Rigdon, E.(2001).Experiential value: Conceptualization, measurement and application in the catalog and Internet shopping environment.Journal of retailing,77(1),39-56.
13. McLuhan, M.(1994).Understanding media: The extensions of man.London:MIT press.
14. Moray, N.(2000).Culture, politics and ergonomics.Ergonomics,43(7),858-868.
15. Rosenbaum, S. C.(2011).Curation nation: How to win in a world where consumers are creators: why the future of content is context.New York, NY:McGraw-Hill.
16. Shobeiri, S.,Laroche, M.,Mazaheri, E.(2013).Shaping e-retailer's website personality: The importance of experiential marketing.Journal of Retailing and Consumer Services,20(1),102-110.
17. 文化部(2012)。臺灣文化創意產業發展年報。台北市=Taipei:文化部=Ministry of Culture。
18. 偶樹瓊(2006)。台北市=Taipei, Taiwan，國立台灣藝術大學=National Taiwan University of Arts。
19. 黃彩絹(2009)。台北市=Taipei, Taiwan，國立台灣師範大學=National Taiwan Normal University。

1. 黃芷媚、彭書相、張京嵐、李曉蕾(2016)。特技軟功道具傳承與創新研發。文化資產保存學刊，36，61-85。
2. 顏惠芸、陳璽敬、林志隆、李仙美(2016)。策展設計之個案研究─以「詩情畫意─仙雲之美油畫習作展」為例。設計學報，21(4)，1-24。