直播主如何經營直播：以劇場理論觀點探討直播主之意會與演出

直播的盛行創造許多網路名人與直播經濟現象。近年研究以意義轉移(meaning transfer)觀點，以消費者意會來解釋名人如何創造經濟，但這些研究未能說明名人如何管理消費者的意會。本研究以詮釋型個案研究法，來探討直播主如何以直播實務來塑造消費者的意會。以Goffman的劇場理論做為理論視角，本研究將直播實務視為前台演出，並探索直播主在後台對於舞台（即直播）、角色（即身為直播主）、與觀眾等層面的意會，來分析其如何管理觀眾印象。研究結果區分三種印象管理的演出，分別為偶像式、實力式、與領頭式演出。這三種演出中，直播主對於舞台、角色與觀眾的意會各有不同，而產生各異的印象管理目標與演出方式。本研究可深化現有直播研究、並對直播的經營提出新的洞見。

As live streaming becomes popular, it creates lots of live streaming celebrities who make amount of market value to form a live-streaming economy. Current research investigates how celebrity can create economy by a meaning transfer perspective. The meaning transfer perspective suggests that consumers actively give cultural meaning to a celebrity and use this meaning to construct their self-concept. Although meaning transfer studies help to explain celebrity economy, it remains unclear that how celebrity manage the consumers’sense-making process where the cultural meaning is created. To address this theoretical gap, this study applies the dramaturgical theory to reveal the process on how live streamers manage consumer’s sense-making by the live streaming practices. Specifically, we regard a live stream practice as a performance, and analyze the performance by live streamers’sensemaking on“the stage”(i.e. the live streaming industry), on“the audience,”and on“the role-played”(i.e. the live streamer). Our findings identify three types of performances, including idols, masters, and opinion leaders. Our findings can deepen current understanding on live streaming practices and provide new insights for aim live streamers to leverage image management.