臺灣現代劇場的產業想像：一個「參與觀察者」的劇場民族誌初步書寫

Art as Industry? –A Participant-observer’s Account of the Changing Course of Modern Theatre in Taiwan

文創產業一詞進入臺灣的生活語境恰整十年，情勢漸漲，後勢看俏。但是在表演藝術相關社群的文化語境中，「文化創意產業」卻是個令從業者害怕的陌生語詞。在文創產業推動過程中，表演藝術工作者經常被引用為抵抗者，相關主管機關也不時顯露進退失據的窘態。兩相對峙，文化政策和表演藝術幾至毫無交集，更衍生許多以訛傳訛的誤解。本論文希望透過歷史檢視，口述訪談，實務務操作等不同方式取得的文獻與田野資料，提出一個「觀察參與者」（participant-observer）對於表演藝術／劇場與文化政策互動的檢視報告，並嘗試探索表演藝術還缺什麼環節，才能成就所謂的「文化創意產業」？相對於過去十年長期有經濟學與管理學領域的論述，本文作者從一個文化藝術工作者的角度出發，思考文化藝術被重新放置歸類為產業的歷史社會情景，試圖從「表演藝術不是文創產業」的抵制語境中脫身，轉而探問「表演藝術如果是文傳產業，她的優劣勢是什麼？」本文採用文化人類學的「參與觀察」（participant observation）方法，以台灣現代劇場的產業想像為題，進行三年以上的田野調查。筆者從過去十年來曾進行密切合作的劇場工作者中，選擇投身劇場近二十年者（1989-2009），就其從業經驗裡對於劇場產業的近身認識與觀察，進行深度訪談。本文同時以一個實際經驗案例為參考，意即筆者執行的桃園地區表演藝術文創育成計劃為第二個田野調查。該計劃以一個人文藝術實驗室為主旨，嘗試對臺灣表演藝術邁向產業化的問題與可能解決辦法，在實作中提出建言。本文期待針對這兩個田野所得進行「縝密描繪」（thick description），嘗試指出表演藝術／現代戲劇作為文傳產業之一，猶待發展建立的產值創造系統與產值論述方向。本文最終目的希望蒐集並歸納台灣現代劇場在過去二十年來歷經的結構變革甚至價值轉換，嘗試在現代戲劇的藝術語境和文創政策的產業思維之間，建立對話橋梁。

To chart the changing ideas of theatre, whether as “art” or “industry,” this paper borrows the method of “participant observation” from cultural anthropology, investigating Taiwan’s cultural policies in the past three decades. I begin by overviewing the changing policies on culture and arts since 1980s. I then conduct thick-description of oral histories of some twenty or more theatre workers—actors, designers, administers, director, with whom I have closely collaborated with for over 15 years. I argue that whereas the discourse of creative and cultural industries in the 2000s coincides with the emergence of Taiwan’s theatre professions, the governmental subsidies for performing arts have actually long prepared for the modern theatre to thrive. It has long been overlooked that the ideology generated by art subsidy impedes the recent cultural policy of creative industry. My discussion also integrates information drawn from a recent experiment, which I conducted, on creating a “performing arts cluster” practiced on the NCU campus. My ultimate goal is to map out the route of Taiwan modern theatre’s striving for its first professionalism and hopefully to begin exchange of ideas between the art community and the governmental “Act for Development of Cultural Creative Industries” issued in 2010.