百年糖廍的黎明破曉：萬座曉劇場「團隊與場館共生」的營運模式與價值創造

Dawn of a Century-Old Sugar Mill: The Business Model and Value Creation of Wan Theater's Group-Venue Symbiosis

在台灣表演藝術資源分布不均與場館經營結構性挑戰下，中小型團隊多處於「逐水草而居」的遊牧狀態，與場館的關係多侷限於單向租借，難以累積長期藝術能量。本研究旨在探討：資源有限的表演藝術組織，如何在掌握實體場域基礎上，透過「團隊與場館共生」的營運策略與跨界實踐，解決財務生存困境，並強化品牌影響力與國際競爭力。
本研究以台北萬華「萬座曉劇場」為個案，其獨特性在於：台灣首座由劇團自籌經費、依《文資法》修復百年古蹟並自主營運的專業劇場。分析發現，該模式成功轉化古蹟修繕的龐大壓力，發展出獨特經營機制。首先，建立「劇團」與「獨立營運公司」分流的雙軌架構，透過商業收益支援藝術活動，提升財務韌性；其次，採用「車庫」戰略隱喻，將實體場館視為國際談判籌碼，使團隊從資源尋求者轉變為「平台提供者」，推動國際駐村交流及「艋舺國際舞蹈節」等全球連結。
此共生模式在古蹟活化、社群深耕、財務自給與國際網絡四面向創造綜合效益，不僅突破對政府補助的依賴，更展示藝文組織如何將物理空間維護轉化為品牌資產，為台灣中小型藝文組織在複雜環境下的永續經營提供具戰略參考價值的發展路徑。

In Taiwan, performing arts resources are unevenly distributed while venue management faces structural challenges. Small and medium-sized arts groups often ''live a nomadic life,'' and its relationships with venues are limited to one-way rental, therefore it's difficult to accumulate long-term artistic energy. This study is aimed to explore how a resource-limited arts organization, based on their control of physical venues, sort out financial issues and strengthen brand influence and international competitiveness, through the business strategy and cross-disciplinary practices of ''group-venue symbiosis.''
The study focuses on ''Wan Theater'' in Wanhua Dist., Taipei. Its uniqueness is: Taiwan's first professional theater that is self-funded by troupe, a restored century-old historical building in accordance with the Cultural Heritage Preservation Act, with independent operation. The analysis finds that this model successfully transforms the tremendous pressure of heritage restoration, and develops a unique business operation mechanism. First, establish a dual-track structure, separating the ''troupe'' from the ''independent company,'' supporting artistic activities through commercial revenue, and improving financial resilience. Second, adopt the ''garage'' strategic metaphor, regarding a physical venue as an international bargaining chip, converting the team from a resource seeker to a ''platform provider,'' advancing international Artist-in-Residence programs and the Monga International Dance Festival, etc., to establish global connections.
This symbiotic model creates comprehensive benefits in heritage preservation, community engagement, financial independence, and global network. It not only breaks through dependence on government subsidies but also demonstrates how arts organizations can transform physical space maintenance into brand equity, providing a strategically valuable development path for small and medium-sized arts organizations in Taiwan, under such a complex environment, to achieve sustainable development.