An Inquiry on the Experience of Cross-city Cooperation in Performing Arts

• Main Authors: Hui-Mei, Hsu, 許蕙美
• Other Authors: 黃蘭貴
• Format: Others
• Language: zh-TW
• Published: 2010
• Online Access: http://ndltd.ncl.edu.tw/handle/ks998c

碩士 === 國立臺北藝術大學 === 藝術行政與管理研究所碩士班 === 98 === The public sector’s programs to subsidize the international interflow usually focus on the projects of domestic groups exhibiting/performing abroad and international groups coming to perform in Taiwan; only a small proportion of these programs revolve around the cooperative creation through cross-city interflow. The existing documents on the cross-city interflow of performing arts are mostly critical works and discourses about the artists’ creative concepts, but the profound inquires on the artists and art administrators’ experience about cross-city interflow and the influence they receive are hardly seen. Why does cross-city interflow of cooperative creation only account for a small proportion of the subsidy programs? What impact does cross-city cooperative creation have on the artists? How do art administrators facilitate the workings of such interflow? How do the cross-city interflow of cooperative creation and the one of non-cooperative creation differ in their effects? Based on the many queries about the cross-city cooperative creation of performing arts, this research studies the artists and art administrators who have experience in the cross-city cooperative creation of performing arts, conducts interviews with totally eighteen participants of such cooperation and analyzes their experience. In this way, we hope to understand the effects and influence the participants receive through cross-city cooperative creation, examine the phenomena that occur during the process of the cooperative creation, analyze the required conditions and mechanisms as well as explore the role of the art administrators in cross-city cooperative creation. After analyzing the data, this research first explicates what external effects and internal impact does the cross-city cooperative creation of performing arts generate on the artists. Second, by presenting the phenomena that often happen to three of the aspects of cross-city cooperative creation--the production, the artists themselves and the cooperative members--this research further analyzes the necessary conditions and required mechanisms regarding these three aspects. Then, about the art administrators, we would show how they grow during their participation in the process, analyze the necessary personal conditions and qualities as well as explore the role they should play during their participation in the process of cross-city cooperative creation. Finally, the writer would interpret the influence of both the macro-environment and the micro-factors on the development and continuance of cross-city cooperative creation. Based on the aforementioned findings, this research puts forward three conclusions. First, cross-city cooperative creation is a form of interflow from which the artists can receive more profound effects and influence. Second, well-rounded conditions and mechanisms can diminish the negative phenomena of the interflow and contribute to positive results. Third, the art administrators play the important role of improving the conditions and mechanisms in the projects of cross-city cooperative creation. Through cross-city cooperative creation, the artists acquire artistic learning, personal growth and conceptual changes, which is both the value of cross-city cooperative creation and the consequence of the artists’ devotion to genuine interflow and mutual learning. The cross-city cooperative creation of performing arts is a form of international cultural interflow through which the communication of artists’ creativity and culture can be substantially achieved