本研究是一個為期三年時間田野調查計畫，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，針對台灣現代劇場專業工作者──包含演員、導演、舞台設計、音樂設計等，進行系列口述訪談。本計畫並將以「縝密描繪」（thick description)方式，分析調查所得資料，嘗試撰述一部台灣現代劇場的民族誌書寫(ethnography)。在方法上，此研究計畫採用的「參與觀察」田野策略，涉及了口述訪談、直接觀察、實際參與、自我分析等方法。在執行上，計畫主持人將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，並輔以台灣現代戲劇暨影音資料庫的作品典藏為參考資料。這樣的研究計畫的重要性是，它不以作品或創作者為論述焦點，而是從現代劇場不同部門的個別從業者的實際工作過程與自我陳述中，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。在討論架構上，本研究以英國文化創意產業政策的劇場產業化模式為例，與台灣現代劇場產業想像的對話對象。自從文建會於2002年自英國引進文產概念，至今年出爐的行政院〈文化創意產業發展法﹥止，英國與聯合國的相關政策與論述，屢屢成為台灣相關文化施政作為的參考指標。本研究以現今英國三個城市的四個不同劇場模式為對話對象，它的另一重要性是從實際運作模式以及從業者的經驗認知中，重新對照檢視英國部份施政現況與台灣現代劇場運作現況間的差距，嘗試從生態結構的角度，為台灣現代劇場進行類似民族誌(ethnography)的描繪，譜寫台灣現代劇場近二十年發展的部份圖像。 This three-year research project employs the method of “participant observation” borrowed from the cultural anthropology to chart the changing idea of theatre “industry” as conceived of by the Taiwanese theatre practitioners. I make in-dept interview with some twenty more theatre workers—actors, designers, administers, director, with whom I have closely collaborated with in the past decade. My objective is to make an ethnographic writing on Taiwan’s modern theatre activities in the last two decades. To achieve that, I employ the ethnographic strategy of “thick descriptions” on the oral history of these selected theatre practitioners who have worked on stage full time for over twenty years. I then make inter-textual readings between my interviewers’ narrations of their understanding of modern theatre as a form of cultural industry and the discursive discourse on cultural industries seen in Taiwan’s art field in the last two decades. I argue that the discourse of cultural industries actually coincides with emergence of Taiwan’s theatre professions, whereas it was general misunderstood as the direct result of the local government’s policy on creative industry. The make this arguments more persuasive, I also chart the two modes of theatre industry in Taiwan and in the UK, with a focus on how the British model has (not) been adapted to Taiwan’s context and how such cultural translation and transplantation have been conceived of by the policy makers as well as theatre practitioners. My ultimate goal is to map out the route of Taiwan modern theatre’s striving for its first professionalism since the 1980s. 研究期間：10008 ~ 10107
