| Summary: | 碩士 === 南華大學 === 美學與藝術管理研究所 === 95 === 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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