Research on fostering policies performing arts in Taiwan-Using children’s theater groups as examples.

• Main Author: 張玉浩
• Other Authors: 夏學理
• Format: Others
• Language: zh-TW
• Published: 2010
• Online Access: http://ndltd.ncl.edu.tw/handle/77907255781320436667

碩士 === 國立臺灣藝術大學 === 應用媒體藝術研究所 === 98 === Abstract Council for Economic Planning and Development proposed PRB’s “2007 World Population Estimation Overview” information in which more than 22900,000 people in Taiwan ranked 49 in the world. IMD announced that in 2010, Taiwan ranked 8 in the world competitiveness. Even if it is attacked by the outer factors, in the fields of art and humanity, diversified Taiwan culture still produces the valuable and invisible assets and nurtures the art and human ambivalences. No matter in the brilliant performances of race, language, history, and literature, Taiwan shows the spirit of passing on to the next generation. The art is the creative industry’s core and performing arts are just concrete embodiments of the nation’s culture aspect. Culture is every people’s important source. In recent years, every government in the world increasingly emphasizes the culture. To fit in with the global market changes, we have to continue to weed through the old to bring forth the new and create the performing arts’ core value, and further take Taiwan’s image in shape to increase the cultural competitiveness. Our government has spared no efforts to foster the performing arts organizations, but can’t still make them leave the traditional market’s limit, broaden the overseas performance opportunities, make Taiwan become more well-known to the world, or take a path of the permanent operation. However, the award system is repeatedly questioned and criticized. In facing the period of the financial crisis, the disadvantaged organizations have waited long, but can’t get any assistance. No doubt, they can’t exist. This study is to take Council for Cultural Affairs’ award plan for the performing organizations as the analytic case. We had to understand how the performing organizations marketed themselves. For the present country’s foster policy concepts, the background, the budget structure, the application, the review process, what stage should the government intervene in? Or create what kind of existing space and environment? Whether did the government openly explain? Did the application subsidy correspond to the equal, fair, and open principles? Besides the literature discussion, the content analysis, and the deep interview, we try to propose the improvement and suggestions from the present framework. There are five sources to provide for the performing organizations. First, the tickets or the performance income are one source. The ticket office is the foremost to link the organization operation. How to develop the faithful audience is the required basic condition. Second, the industry or the individual supports. The cooperation between the art circle and the industrial circle can create the win-win opportunity. It is indispensable to properly apply the non-governmental forces and resources. In the feedback of society, the industry will increase the satisfaction and identity of the customers. Third, for the government’s award and subsidy for the art and humanity, because of different groups and cultures, in the aspect of the cultural democracy, the locals begin to rule. This research discusses the public resource distribution and interprets from the public angle and social perspective. Fourth, different industries combine. Different features combine, market, and satisfy the demands of certain customers. The result always surprisingly triggers the spending and purchasing power. Fifth, the related commodities sell. When the performing organizations are approved and supported by customers, the related products’ benefits will become competitive. This article is aimed to deconstruct the present dilemma from the angle of the performing arts organizations. Council for Cultural Affairs is wholly responsible for the nation’s cultural operations. In the foster policy for the performing art organization award plan, in counseling the performing arts organizations’ long term developments, did it exert its function and save the disband-to-be organization? Did the critics take the angle of elites or the public? If we observe from the social perspective, shouldn’t the major groups be subsidized? Or should the minor or disadvantaged groups be awarded? Because of the major groups, in applying for subsidies, many groups failed to correspond to and could not apply for the central government’s subsidy because of too short registered time or too small scales. In fact, National Culture and Arts Foundation comes from the cultural art award acts, imitates American culture award spirit, and hands in the award and the subsidy assignment to the Foundation. However, the review committee may be disturbed by certain people who affect the review result and make the Foundation’s power unable to unite and may face the problems of people’s lobbying, failing to handle according to the procedure, and even the protection from senior elders. Therefore, the independent operation is not ideal as expected, leading to the great disapproval and imputing Council for Cultural Affairs to not openly explaining the significant policies. However, as a whole, one of the sources for stabilizing the performing art organization is to be able to keep accepting the public sector’s subsidies. Key Words: Council for Cultural Affairs, Performing organizations’ graded award plan