Dissertations / Theses on the topic 'Chinese performing arts organisation'
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Connell, Xiao Yan. "Chinese government policy and international exchange in performing arts 1949 - 2005." Thesis, University of Salford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.490208.
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More than fifty years have past since the found of the People's Republic of China in 1949; after which Chinese society experienced many changes owing to the adjustments of government policies. The aim of this thesis is to determine how Chinese government policies have affected the international exchange of performing arts from 1949 to 2005. The assessment was conducted over three historical periods: the planned-economy (1949-76), the transitional period (1977-96), and the marketed economy period (1997-2005), in order to measure the impact of the changing governmental policies.
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An, Lin. "Chinese Model of Cultural System Reform on Mid-Sized Performing Arts Organizations." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392907950.
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Brown, Tom. "English vernacular performing arts in the late twentieth century : aspects of trends, influences and management style in organisation and performance." Thesis, City University London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367323.
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Klie, Hunter D. "Now is “Hunter,” Now is “Liu Mengmei:” The Pedagogy of Performing Unfamiliar Roles and Negotiating Audience Expectations." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1563515608405896.
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Ngor, Aaron Seav. "The Influence of Dry Cupping Therapy on Musicians with Chronic Neck Pain: An Initial Case Series." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1525726057063134.
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Loades, Sophie T. "The impact of value co-creation: A service employee perspective." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/119153/1/Sophie_Loades_Thesis.pdf.
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Despite being a widespread organisational strategy, little is known about the impact of increasing consumer participation in services on service employees. This study examines the outcomes of value co-creation for service employees using in-depth semi-structured interviews with performers and managers within DeepBlue, a successful mainstream innovative arts organisation. The findings show employees experienced fluctuations in economic, social, hedonic, altruistic and connection value, with different types of value co-creation opportunities providing different levels and types of value derived or destroyed for employees. Ultimately, the findings suggest that value co-creation can both positively and negatively affect service employees and requires careful management.
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Laurent, Stéphanie. "Le travail identitaire des organisations intermittentes : le cas des associations du spectacle vivant." Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE3043.
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Comment évolue l’identité des organisations dont l’activité est discontinue ? Pour répondre à cette question, une étude de cas a été menée dans trois associations du spectacle vivant pendant trois ans. La recherche mobilise une approche ethnographique, basée sur plus de 500 heures d’observation participante et 31 entretiens, pour saisir les changements en temps réel dans leur contexte. Sur une période de plusieurs années, les trois associations évoluent très différemment : dans le premier cas l’identité d’origine est réaffirmée, dans le deuxième elle est renouvelée et dans le troisième elle est réinventée. Des termes musicaux sont employés pour nommer ces trois évolutions identitaires : le thème, la variation et l’improvisation. Dans les trois associations, un nouveau sens des croyances identitaires est formulé par les acteurs. Ce nouveau sens n’est cependant pas systématiquement adopté. Trois mécanismes permettant de réaffirmer le sens d’origine des croyances identitaires sont identifiés : la prise de distance, le désenchantement et le désaveu. L’activation de ces mécanismes répond à un besoin de protection de certains acteurs qui se trouvent mis en difficulté par le changement. En montrant comment l’organisation intermittente peut s’appuyer sur la discontinuité de son activité pour en faire une ressource du travail identitaire, ce travail doctoral offre aussi des éléments de compréhension pour les managers d’organisations de ce typeHow does the identity of discontinuous organizations change? To answer this question, a three-year-long study was conducted in three non-profit performing arts organizations. This study builds on an ethnographic approach based on more than 500 hours of participant observation and 31 interviews to follow real-time interactions in their context. Over a period of several years, the three organizations evolve very differently: in the first case original identity is reasserted; in the second one identity is renewed; and in the third one it is reinvented. Given the centrality of music to the performing arts organizations studied, naming these three identity evolutions the theme; the variation; and the improvisation seemed apposite.In the three cases, identity beliefs’ new meanings are formulated by organizational members. These new meanings are not systematically adopted. The study identified three mechanisms allowing members to reassert the original meaning: distancing; disenchanting; and rejecting. The study argues that activation of these mechanisms answers a need for protection of some organisational members experiencing difficulties in the change process. By showing how discontinuous organizations can rely on discontinuity as a resource for identity work, this doctoral work also offers elements of comprehension for managers of such organizations
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He, Man. "Chinese Play-Making: Cosmopolitan Intellectuals, Transnational Stages, and Modern Drama, 1910s-1940s." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429737192.
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Lee, Ming-yen. "An Analysis of the Three Modern Chinese Orchestras in the Context of Cultural Interaction Across Greater China." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1397886249.
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Goh, Yen-Lin. "Reimagining the Story of Lu You and Tang Wan: Ge Gan-ru's Wrong, Wrong, Wrong! and Hard, Hard, Hard!" Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1349118390.
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Åsa, Back. "SINNLIG (sensuous) in Beijing : towards an Artistic Ethnography." Thesis, Stockholms konstnärliga högskola, Institutionen för skådespeleri, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-312.
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Projektet bygger på åtta veckors fältarbete på en oberoende teater i Peking våren 2017,baserat på antropologisk och konstnärlig metod. Det är ett försök att utveckla begreppet konstnärlig etnografi, samt tillämpa det praktiskt. I detta är konsten inte huvudsakligen en produkt eller en presentationsform, utan ett sätt att tänka, att förhålla sig till världen. Materialet består av fältanteckningar, video, foto, rörelsematerial, personliga berättelser, minnen av dofter, ljud och smaker och någonting så vagt som stämning – stadens tempo, känslan i en repsituation… Hur kan scenen förmedla en plats och dess människor? Kan jag levandegöra mina upplevelser så att de blir angelägna för någon annan än mig själv? Det praktiska arbetet utgör ett försök att besvara dessa frågor. Vilka bilder har vi, och vad ser vi när vi speglar oss i varandra? Vad betyder det att våra världar redan är sammanflätade? Spegeln som bild och lek, träder fram både som tema och metod. Begrepp som exotism, representation och mötet med den andre diskuteras, liksom växlingen mellan identifikation och främmandegörande (”othering”) som en grund för förståelse. Hur påverkas människors liv av Kinas snabba samhällsförändringar, balansgången mellan socialism och kapitalism? Och vilken roll har scenkonsten i detta? Här diskuteras frågor om yttrandefrihet, liksom relationen mellan politik och spelstil, så kallad ”fejk realism”. Frågorna knyts samman genom en diskussion om autenticitet, följd av en betraktelse om utanförskap, för att slutligen återvända till det personliga mötet, till en berättelse om kontaktsökande – om vänskap.This project is based on eight weeks of fieldwork at an independent theatre in Beijing in the spring of 2017, based on anthropological and artistic methods. It is an attempt to develop the concept artistic ethnography, and apply it practically. In this, art is seen not mainly as a product or a form of presentation, but as a way of thinking, of relating to the world. The material consists of field notes, video, pictures, movement material, personal stories, the memories of smells, sounds and tastes and of something as vague as atmosphere – the pace of the city, the feeling of a rehearsal situation... How can the stage render a place and its people? Can I bring my experiences to life, making them relevant for anybody else? The practical artistic work with an exposition is an attempt to answer these questions. What images do we have, and what do we see when we mirror each other? What does it mean that our worlds are already intertwined? The mirror as image and play appear both as a theme and a method. Concepts like exoticism, representation and the encounter with the other are discussed, as well as the movement between identification and othering, contributing to understanding. How are people’s lives affected by China’s rapid social changes, balancing between socialism and capitalism? What role do the performing arts have in this? Questions about freedom of expression are discussed, along with the relation between politics and styles of acting, the so called “fake realism”. The research questions are tied together in a discussion of authenticity, to finally return to the personal encounter and a story of seeking contact, of friendship.
Sinnlig - the movie finns länkad dels i dokumentet och dels som egen fil
Movit –Direction and Dramaturgy of movement based Performing Arts
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Tremblay, Johanne. "Aux pieds du grand escalier : ce que donne à voir l'attribution par le ministère de la Culture et de la Communication d'un label de "qualité" sur les opéras (nationaux) de région en France." Phd thesis, Université d'Avignon, 2011. http://tel.archives-ouvertes.fr/tel-00671908.
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Cette thèse concerne la labellisation de cinq opéras de région, en France, entre 1996 et 2006 : l'Opéra National de Lorraine, l'Opéra National de Montpellier, l'Opéra National de Lyon, l'Opéra National de Bordeaux, et l'Opéra National du Rhin. L'étude porte sur une forme qui englobe obligatoirement d'autres formes artistiques quasi autonomes et professionnalisées (orchestre, ballet, choeur) et sur les changements en cours dans l'économie de ces organisations traditionnellement sous tutelle municipale repositionnées au coeur d'une gouvernance multiscalaire et mises au défi de faire croître leur visibilité et celle de leur activité. Nous nous intéressons dans ce cadre à ce sur quoi reposent les stratégies de renouvellement développées par ces organisations culturelles, sédimentées et conventionnelles, prises entre le politique et le marché, dans un cadre particulier à la France où l'État se reconnaît comme garant de la qualité. Pour conduire l'étude, nous utilisons la labellisation comme marqueur de ces changements et comme dispositif participant à l'instrumentation de ces opéras dans un marché restreint. Ce qui se voit, c'est une ouverture organisée, selon un mode de fonctionnement par projets et selon un mode de diversification réfléchie de leur activité à un niveau de complexité jamais égalé, sous la pression de l'envahissement de la sphère culturelle par les logiques marchandes et médiatiques. Cette instrumentation est réalisée par le déploiement de dispositifs de jugement dans une économie des singularités dans laquelle le théâtre d'opéra est amené à chercher lui-même à asseoir sa continuité. Sont discutées les stratégies développées quant à l'incertitude inhérente à la création artistique et à la dépendance financière et les effets du dispositif opéra national qui donne lieu à un " remplissement " stratégique perpétuel (Michel Foucault), du fait de la remobilisation du dispositif dans la gestion des effets secondaires qu'il a lui-même induit, et dans la dynamique duquel le pouvoir, la visibilité et la légitimité occupent une place centrale. Notre démarche inductive et pluridisciplinaire et la posture critique adoptée conduisent à l'élaboration d'une étude donnant une grande place à l'indétermination des rapports et des humains, dans une ontologie constructiviste modérée. Le sujet singulier qu'est l'organisation d'un théâtre d'opéra en France, les raisons de ces choix et la méthodologie appliquée sont présentés pour éclairer le lecteur dans sa rencontre avec un milieu d'ordinaire fermé. Enfin, la conclusion retrace certains liens et pointe des aspects à creuser dans une recherche ultérieure afin de comprendre ce que donne à voir, sur le présent et l'avenir des Opéras de région en France, l'attribution par le ministère de la Culture et de la Communication d'un label de " qualité ".
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Tu, Tsung Yun, and 涂聰雲. "Strategy marketing for performing arts group's ---national chinese orchestra's international touring concert." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/31652867466050841993.
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碩士國立政治大學
經營管理碩士學程(EMBA)
96
The culture is the life that the nation continues, and its progress is a driving force for the social development. In 1997, Council for Cultural Affairs of Executive Yuan announced “Culture will be the diplomatic theme and the promotion of Taiwan’s culture will be the first important work of international exchange”. After the party alternation in power, the new Government still took “cross-strait cultural exchange” and “international touring and cultural diplomacy” as its cultural policy and administration guiding principle. Through cultural exchange, Taiwan can reach wider and deeper in the international community than via economic diplomacy, and can also promote the international image of Taiwan. The knowledge of “Arts management” can be used to expand the business of culture and arts, besides, through marketing strategy; it also enhances the development, value and vitality of arts activities and cultural business. Therefore, how to apply “Strategic Marketing” and “Event Marketing” properly to promote the publicity of the organization so as to gain more resource is an difficult challenge for every NGOs and performing arts companies. The international tours of the arts and cultural activities interact closely with social environment, cultural policy, political needs and diplomatic circumstance in every steps of the production. Effective arts management and successful marketing can enhance the arts market and cultural industry; provide the living space for arts and cultural workers, as well as nourish the base for perpetual operation. This research took the international touring concerts of National Chinese Orchestra as a successful example to illustrate the application of event marketing strategy of traditional musical groups, and concludes the vision and achievements from the aspects of artistry, audience appreciation and news reports so as to provide new direction and strategy of relative organizations in future development.
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Chen, Tzu-hung, and 陳姿宏. "A Marketing Research on Performing Arts Organization: National Guo-guang Chinese Opera Company." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/04249611967035655639.
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碩士國立政治大學
廣告學系
94
Arts and cultures surpass races、countries and ideologies, communicate people and build the real foundation of world peace. Chinese Opera which contains rich Chinese culture is now the most popular opera in China. 1995, Ministry of Education combined three triphibious Chinese Opera groups into one national Chinese Opera Group—the National GuoGuang Chinese Opera Company. The company tries to set up a creative Taiwanese style for Chinese Opera and prevail these fine arts. To make the excellent Modern Chinese Opera become the behalf of Taiwanese culture, the marketing strategies for GuoGuang to meet consumers’need is urgent. The study surveyed 500 young consumers by questionaires of 「2005 Chinese Opera contentment survey」, 353 questionaires are recycled, 251 are effective. After Factor Analysis, the result shows that the marketing and product problems lead to the unwillingness to see Chinese Opera; Actors/Actresses inner presence and stage costumes are factors of Chinese Opera contentment; Product Qualities、Cases and outside control elements are factors of the Chinese Opera watching importances. The study interviewed GuoGuang Chinese Opera Company to examine their markeing structure. Besides, the study takes 「Snow Wolf Lake」 as a successful marketing example for benchmark and concludes suggestions for Guoguang: 1. Education of Chinese Opera scripts would be a way to cultivate potential markets; 2.Innovation products and big cases would help the company to build public praise. 3. Make good use of Integrated Marketing Communication to reach for advertisement synergy.
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"Six Chinese Piano Pieces of the Twentieth Century - A Recording Project." Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.14773.
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abstract: This paper describes six representative works by twentieth-century Chinese composers: Jian-Zhong Wang, Er-Yao Lin, Yi-Qiang Sun, Pei-Xun Chen, Ying-Hai Li, and Yi Chen, which are recorded by the author on the CD. The six pieces selected for the CD all exemplify traits of Nationalism, with or without Western influences. Of the six works on the CD, two are transcriptions of the Han Chinese folk-like songs, one is a composition in the style of the Uyghur folk music, two are transcriptions of traditional Chinese instrumental music dating back to the eighteenth century, and one is an original composition in a contemporary style using folk materials. Two of the composers, who studied in the United States, were strongly influenced by Western compositional style. The other four, who did not study abroad, retained traditional Chinese style in their compositions. The pianistic level of difficulty in these six pieces varies from intermediate to advanced level. This paper includes biographical information for the six composers, background information on the compositions, and a brief analysis of each work. The author was exposed to these six pieces growing up, always believing that they are beautiful and deserve to be appreciated. When the author came to the United States for her studies, she realized that Chinese compositions, including these six pieces, were not sufficiently known to her peers. This recording and paper are offered in the hopes of promoting a wider familiarity with Chinese music and culture.Dissertation/Thesis
CD Track 6. Duo Ye
CD Track 4. Autumn Moon over the Calm Lake
CD Track 5. Flute and Drum at Sunset
CD Track 3. Dance of Spring
CD Track 2. Sunflower
CD Track 1. Liu-Yang River
D.M.A. Music 2012
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Chen, Pei-Ju, and 陳姵如. "A Study on the Attendance and Characteristics of Performing Arts Audiences for Chinese Music in Taiwan." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/35274491693142165992.
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碩士國立臺灣師範大學
表演藝術研究所
102
The purposes of this study is to research and analyze the attendance and characteristics of performing arts audiences ofChinese music in Taiwan, with regards to groups that perform regularly and that are also well-known within Taiwan: theNational Chinese OrchestraofTaiwan,the Taipei ChineseOrchestra,theMountain Folk Orchestra,theLittle GiantChinese ChamberOrchestra and the Taipei Youth Chinese Orchestra, respectively. Different concerts were chosen,a questionnaire was devisedand then distributedat the following performances: ”Taiwan Style of Chinese Music“by theMountain Folk Orchestra, April 9, 2012, at theRecital Hall, Taiwan National Concert Hall; ”Let 2 Strings Run Wild“by the Taipei ChineseOrchestra, April 21, 2012, at the Taipei Zhongshan Hall;“Instrumental Romance XX”by theLittle GiantChinese ChamberOrchestra, April 15, 2012, at the Recital Hall, Taiwan National Concert Hall;“Beyond Music Series-Sui Hao-Ping & NCO”by the National Chinese Orchestra of Taiwan,August 19, 2012, at theNational Concert Hall;and “Song of the Sea“ by the Taipei Youth Chinese Orchestra, September 23, 2012, at the National Concert Hall,respectively. Quantitative data, Chi-square testsand meansetc. were employed.According to the analysis of the data the following conclusions were obtained: 1. Chinese music audiences are mostly comprised offemales, single people and ticket prices bought were below NTD1000. It was also noted that audiences consisted mainly of students, that there was a sharp fall in attendance of 20and 30-somethings, and then there was another peak in attendance of 41-45 year-olds. 2. Chinese music audiences regularly attend Chinese music events and many learn Chinese music. Their favorite performances are “traditional”Chinese music concertswithout dance, singing or other media. 3. The biggest reason people come to enjoy a concert is because of friends. Influencing factors also includeprices and transportconcerns. 4. Most of the audiences considerChinese music to bea strong artistic interest, but few oftheir friends or family share this hobby. 5. In terms of marketing, audiences have a wide variety of reasons to choose particular concerts and it’s difficult to identify significantconnections between them.
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"當代社會變遷中的二人台研究: 河曲民間戲班與地域文化之互動關係." 2004. http://library.cuhk.edu.hk/record=b6073884.
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楊紅.論文(哲學博士)--香港中文大學, 2004.
參考文獻 (p. 320-336).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Abstracts also in English.
Yang Hong.
Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2004.
Can kao wen xian (p. 320-336).
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Shu, Chao-Ming, and 許朝明. "The Promotion of the Education in Chinese Traditional Xiqu —A Case Study from National Taiwan College of Performing Arts." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/5v522x.
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碩士銘傳大學
公共事務學系碩士在職專班
95
National Taiwan College of Performing Arts is the only school which develops the students with traditional performing arts in Taiwan, and which has the training programs for twelve years. It has been admired and concerned because of its professional and unique characteristic by the scholars and people who work with arts and enjoy arts. To make a further progress and development for the contemporary Xiqu education, the thesis is aimed to the literature about the review and education of traditional Xiqu art, exploring and analyzing the advantage and disadvantage for the present. For making a successful broadcast with the traditional Xiqu, I’d like to apply the ideas of marketing to the Xiqu education and explore the relationship as well as the benefits between marketing and Xiqu education. The case study, National Taiwan College of performing Arts, which I’m serving as a staff, is an example for taking into account. The art of the traditional Xiqu is accumulated and crystallized by preceding history as well as culture. It’s a kind of precious heritage for human beings. The terminal aim of the education for traditional Xiqu is to promote the valuable cultural assets and make it outstanding on the globalizing stage.
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游瑋鈴. "Research on Performing Arts of Female Warriors in Chinese Opera--Hongqiao with the Pearl and Sizhou County as Example." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/5y7g66.
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碩士佛光大學
藝術學研究所
102
Research on Performing Arts of Female Warriors in Chinese Opera --Hongqiao with the Pearl and Sizhou County as Example Abstract Chinese opera is an old perform art, which on the one hand inherits division of roles and trades of previous traditional Chinese operas and develops its unique performing arts on the other hand in its longrun development history. In roles and trades of Chinese opera, female warrior is undoubtedly a category of most artistic features and stage energy. As the writer has learnt female warrior since childhood, the writer has chosen to take performing arts of the trade as principal axis for research, taking the method of discussing performing arts based on plays, analyzing excellent female warrior performing artists with historical positions as well as multiple patterns of content performance and skill display for classical plays, discussing performing features and development of female warrior performers of Peking opera by taking Hongqiao with Pearl and Sizhou County etc. as example. The thesis includes: I Performance division of female warrior and female character type and multi-type performance category in cross-areas focused on Saw the Jar, Mu Guiying and Hujiazhuang. II Formation and change in performing arts of female warrior and description of performing features and stage styles of senior artists after female warrior ancestor Song Dezhu. III Discussion on performing arts based on plays, discussion on time cross-cutting of performance and concept of mass culture on old and new plays and examples of Si County New, Si County and Hongqiao with Pearl. At last, summarize formative education of Chinese opera on cultivation of female warrior talents and future development. In all, the thesis takes development and performance of performing arts of female warrior as principal axis and classical play analysis as means so as to provide assistance for formative education and division development of Chinese opera as well as systemization of trade arts. Key words: Chinese opera female warrior Hongqiao with Pearl Sizhou County
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Govender, Anusharani. "Disability, development and the arts : a case study of the normative designs of a developmental organisation (Very Special Arts-Kwazulu Natal) in comparison with its practice." Thesis, 1999. http://hdl.handle.net/10413/3541.
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Could the contribution of the voluntary sector to development be more fully realized given greater current emphasis on participatory development? This research addresses this question within the context of a voluntary sector organization in KwaZulu-Natal. Thus, the site of this study is the non-governmental, non-profit, voluntary organisation: Very Special Arts - KwaZulu-Natal, which focuses on the development of people with disabilities within the framework of the arts.
Disability scholars are beginning to decode the discriminatory practices against people with disabilities which indicates that disability as a development category is relatively new. Therefore it was deemed necessary that the analysis of disability in this research be preceded by a consideration of various discourses on disability which is followed by a contextualisation of disability in KwaZulu-Natal.
Development paradigms and paradigms within the arts were investigated and formed the framework against which Very Special Arts - KwaZulu-Natal is analyzed. A single project that the organisation engaged in was utilised as a case study to signify the overall and general workings of the organisation. Through the case-study method the development practices Very Special Arts - KwaZulu-Natal have been investigated and critiqued. The result found that the organizational practice was tangential to its normative design. It was recommended that a convergence of participatory paradigms of development and development paradigms within the arts should transpire. These were then offered as possible pragmatic solutions that Very Special Arts - KwaZulu-Natal could engage in to maximize their efficiency and capacity.'Thesis (M.A.-Cultural Media Studies)-University of Natal, 1999
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Chen, Chin-te, and 陳錦德. "The Impact of Institutional Environment, Market Conditions, Marketing Strategy and Internal Resources and Capabilities on Operating Performance in Chinese Markets Evidence from Taiwanese Performing Arts Industry." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/hf89g9.
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碩士國立高雄大學
高階經營管理碩士在職專班(EMBA)
102
Recent years, Taiwan is very actively developing on the cultural and creative industry, Mainland China started “12th five-year plan” (2011-2015) from 2010, their goal for developing cultural and creative industry is: (they want to improve their cultural and creative industry obviously higher than GDP growth rate, and gradually increase the proportion of the national economy, until the end of the 12th five-year plan the result is about double comparing with 2007.) The support by planned economy, and the market became more and more popular, the growth rate of cultural and creative industry is increasing every year. Some music and art performances’ of Taiwan cultural and creative industry also actively come to Mainland China to do some exchanges and performances. Relatively, each performance group also have met different kind of situation and problem, such as, MNC (Multinational Corporations) have been facing different situation when they running at local market. As we can see from the data so far, it appears most of art performance groups the situation of running the business in Taiwan. But it seldom focusing on the Chinese market’s experience and studies, so this research from institutional environment, industrial structure, marketing strategy and internal resources and capabilities on operating performance in Chinese Markets Evidence, and investigating the impact of operating performance in Mainland China. It took 30 Taiwanese art performance teams’ survey and interviews with experts from the researches, and proved the evidence from the researches. This research used（Partial Least Squares, PLS）of (Structural Equation Modeling, SEM) for statistical analysis, and the survey used Likert, as we can see from the evidence, industrial structure, and marketing strategy on operating performance appears positively relationship, it shows the living standard in China is getting higher, and Chinese consumers are willing to accept art performance, so it helps sales increase; on the traditional marketing strategy, it helps operating performance by multiple ways of promotion in Chinese market. There also need the balance between the own creation and marketing demand. At this period, art performance market could become to commercial, and big-scale in Mainland China. This research analysis result and suggestion below: 1. Except producer’s own idea on product of program. Could it be integrate suitably during operating in Chinese market’s demand? Such as, product’s activity high or low, local consumers’ habit consideration etc. during the production of program, these all could be considered. 2. Mainland China range is wide, but electronic media, instant messaging are very dense. It could decrease traditional publicizes’ cost, and appearing everywhere of the show. Art performance groups, shows and actors(actresses) could affect people’s mind, it helps for future consumer marketing’s increase, in order to affect sales rate. This research helps cultural and creative industry’s music and performing arts industry’s categories. It involved of operation structure of strategy in Chinese market.
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CHENG, CHIN-FENG, and 陳金鳳. "The Study of Relationship among Marketing Satisfaction, Product Satisfaction and Audience Intentions----A Case on the Chinese Acrobatic Troupe of National Taiwan Junior College of Performing Arts." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/48286769199659024472.
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碩士國立臺北大學
公共行政暨政策學系碩士在職專班
93
Traditional folk acrobatics is one of important cultural heritage assets. It is important how to utilize the marketing strategy to make traditional folk acrobatics more creative and change consumers' stereotypes. In addition, making traditional folk acrobatics group survived is another important issue. The main purpose of this study is the following: First, inquire the relation between marketing strategy satisfaction and products satisfaction of performing arts. Second, inquire the relation between the products satisfaction of performing arts and audience intentions. Third, inquire the relation between the marketing strategy satisfaction of performing arts and audience intentions. Fourth, put forward feasible marketing strategies and suggestions according to the research results. This research adopts methods including literature search, depth interview and questionnaire investigation. Through the techniques described above, the following results can be found: 1.In performing arts, marketing strategy satisfaction has a significant positive correlation with products satisfaction. 2.In performing arts, products satisfaction has a significant positive correlation with audience intentions. 3.The higher audience satisfaction to marketing strategy is, the more audience intentions are. 4.In products satisfaction dimension, the factors audience concern and satisfy with are quality, equipment and content innovating, and performer (or the group ) image and characteristic of the performance. 5.In marketing strategy satisfaction dimension, the factors audience concern and satisfy with are internet ticket purchases services, poster propagandas, and rational ticket price. 6.Main factors influencing audience motive are “amusement and recreation”, “increase the audience experiences of performing arts” and “foster interests in activities of performing arts”.
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楊舒婷. "The Research on the Influence of the Cross-strait Communication on the Di Performing Arts in Taiwan － on the case of the “Masterpieces of Di Series Concerts” by Chin-yuan Chinese Orchestra." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/33264461806027882043.
Full textAbstract:
碩士國立臺灣師範大學
民族音樂研究所
99
Due to the different backgrounds and the long-time deadlock, Taiwan and Mainland China develops distinctive performing arts of Di individually. After the cross-strait was allowed to communicate, numerous Chinese Di performers were introduced into Taiwan, bringing pieces in different styles and performing skills in the same time, making great influences on the performing arts of Di in Taiwan, and even elevating the performing level to a certain degree. The “Masterpieces of Di” Series Concerts held by Chin-yuan Chinese Orchestra have done continuously influences on the Di performing arts in Taiwan. This series has systematically and comprehensively invited representative Di performers from different schools to Taiwan, introducing diverse Di performing arts to the field of Di in Taiwan, and become the bridge between Taiwan and Mainland China. Recently, People in Taiwan start to put the emphases on the development of Taiwanese compositions. The research is expected to help figure out the future direction of Di performing arts in Taiwan and further form a characteristics Di performing arts with musical traits of Taiwan.