表演藝術團體的知識管理

Abstract

隨著現代人越來越重視休閒娛樂，台灣的表演藝術活動不論是供給面或是需求面都有明顯提升。近年來台灣的表演藝術團體開始重視經營管理，特別是行銷上的規劃，然而表演藝術團體是一個知識、創意的產製中心，更應該重視知識的管理，才能不斷創新。但是，表演藝術擁有無形性和變異性的特性，使得劇團中很多的內隱知識不易累積和儲存，外顯知識也不容易再次運用。 故本研究期望透過個案訪談的方式，整理出台灣表演藝術團體從規劃、創作、到演出後的知識管理實際執行方式，了解個案劇團知識管理的程度，再依據訪談內容與資訊，提出造成表演藝術團體在知識管理上有不同做法的原因，並給予建議。研究結果顯示，劇團在特定的環境和條件下，有各自適合的知識管理機制，劇團類型、組織規模、作品特性、與演員的合作方式等因素皆會影響劇團知識管理的作法。整體而言，台灣表演藝術團體在知識的獲得與創造、知識儲存以及知識的分享與移轉上有較為完善的機制，然而，在知識的再運用階段，普遍因為表演藝術的變異性，導致儲存的知識無法有效的再次運用，在此部分，多數劇團仍有改善空間。

Nowadays, while people value more on the quality of their leisure time and entertainment, the supply side and demand side of performing arts activities in Taiwan have been improving significantly. In recent years, Taiwan's performing arts groups start to focus on management, especially on marketing planning. However, these troupes can be considered as production centers of knowledge and creativity, so they should put more emphasis on knowledge management. Nevertheless, with the characteristics of its intangibility and variability, performing arts groups differs greatly from general business. This fact makes it harder for the troupes to accumulate and store their huge amount of implicit knowledge and their explicit knowledge is not easy to reuse as well. For these reasons, this study collects the actual knowledge management procedures from scheming, creation to after-performance. By case interviews, we understood and analyzed the degree of knowledge management and the outcomes in three individual cases, tried to find out the causes of knowledge management in different ways among these three cases and gave some suggestion. The results show that performing arts groups have established mechanisms in knowledge creation, knowledge storing, and knowledge sharing-transfer stages. However, because of the variety of performing arts, there are still lots of space for performing arts groups to improve in the knowledge re-use stage.