The influence of the Sponsorship Plan for Multi-level Performance Arts Teams on the business strategy of Taiwanese Glove Puppetry Troupes: A Case Study of Liao Wen-Ho Puppet Show Troupe and Taipei Puppet Theater

• Main Authors: Hsieh, Hsin-Yu, 謝欣妤
• Other Authors: Ho, Kang-Kuo
• Format: Others
• Language: zh-TW
• Published: 2019
• Online Access: http://ndltd.ncl.edu.tw/handle/934ge6

碩士 === 國立臺灣師範大學 === 表演藝術研究所 === 107 === The cultural ecology of puppetry can be divided into four types: sacrificial theater, commercial theater, cultural field and mass media. As the forms differ, the operational strategies for the troupes are made accordingly. This study used the glove puppetry troupes that were selected to enter the Sponsorship Plan for Multi-level Performance Arts Teams from 2014 to 2018, to discuss the troupes’ operational strategies in depth. This study chooses two developing glove puppetry troupes --- Liao Wen-Ho Puppet Show Troupe and Taipei Puppet Theater for a qualitative study. Liao Wen-Ho Puppet Show Troupe has performed on the Jin-Guang Stage for many years, and has been on televisions, while Taipei Puppet Theater is a traditional glove puppetry troupe that is both mature and developing. The goal of this study is to use the two research objects in four venues: sacrificial theater, commercial theater, cultural field and mass media, to gain a deep understanding of the organizational, operational, HR management, troupe management, and financial management models of glove puppetry troupes that give public cultural performance. This study also includes a report of the in-depth interview with The National Culture and Arts Foundation and The Performance Art Branch of The Cultural Affairs Department of Yunlin County on topics such as the reform of the Sponsorship for Multi-level Performance Arts Teams, cultural policies relevant to glove puppetry, and artistic sponsorship. The purpose of the interview is to analyze the development of artistic grants and cultural policies related to glove puppetry, and to compare and contrast the answers with issues raised by the puppetry troupes. The information will help us understand the overall status, dilemmas and prospects of the glove puppetry world. The discussion and results presented in this study may provide suggestions and references for cultural administrative agencies, grant and sponsorship agencies and actors in glove puppetry.