劇場製作產業在國內是一個相當不環保的產業，它的製作流程卻始終未見到真正思考物品的去留方式。國際上許多製作團隊擁有自己的倉儲系統以利物件多次使用，國內少數擁有循環經濟意識的團隊也會選擇倉儲道具，然而對於小型製作團隊來說，倉儲遠比重做需要更多的預算，加上臺灣地狹人稠、空間成本高，除了大型具規模的劇團以外，大部分的製作成本仍是非常緊繃，甚至國內 授製作設計的學校都不見得有完善的道具倉儲管理體制及空間。因此在臺灣完成製作、產品或創作之後，大多是直接清運及丟棄。

本文以筆者身為第一線工作者的經驗紀錄國內劇場製作的真實現況，說明臺灣現行制度下的劇場製作流程及其限制，並分析國際環保趨勢的「循環經濟」觀念，列舉不同產業實施的經驗，是如何經營產業的永續再利用，由於其製作流程與劇場佈景製作相似，亦能作為劇場製作走向永續利用的參考典範。

有鑒於「循環經濟」的概念是在 1990 年被提出，2010 年才有宣導類型的基金 會成立，並在 2014 與 2016 相繼推發表學術文章做討論。而臺灣則是在 2018 的總統 就職典禮第一次聽到相關詞彙，國家級的相關政策也才陸續公布，所以中文相關的 名詞是尚未被官方證明化的，甚至只有網路文獻。筆者嘗試在本篇論文中以國際文 獻與國內文獻做一個清楚的脈絡，從循環經濟的商業模式、到循環設計以及延伸概 念的三環設計概念及價值流表，筆者的畢業製作《藏身處》就是綜合以上各種循環 經濟衍伸詞彙的邏輯，來解構製作流程。而這些製作方式與名詞，除了在文化創意 產業非常新鮮之外，對於臺灣的各項產業也是非常新穎的邏輯概念。

The theater design production industry in Taiwan is not considered environmental friendly, as the usage and storage management after have not been included in the production process. There are many internationally examples of theater companies who have their own warehousing system established in order to reuse the sets and props, and few cases in Taiwan. However, it is a big challenge for smaller Taiwanese theater companies to covered the warehousing cost which is usually higher than remaking the whole production. In fact, due to the lack of funding in performing art field, even the university school productions don’t always have the access for storage options. Thus, the sets and props made in Taiwan often end up being disposed. As a front-liner of theater production design, the writer tries to document the first-hand experience, interpret the limitations of Taiwanese theater production design industry. This thesis will combine the analysis of circular economy concepts and successful examples from other industries to present how sustainability can be conducted in theater. Due to the fact that “circular economy” was proposed in 1990, the organizations promoting the idea didn’t exist until 2010. The earliest academic researches were from 2014 and 2016. In Taiwan, the first time circular economy mentioned was the presidential inauguration ceremony in 2018, and related national policies were made after that. Thus the term is not officially recognized and the majority of research material is based on online articles. This thesis aims to build a clear narrative through the discussion of the business model of circular economy, circular design and its extension theory, as well as the ideology of value flow in international and Taiwanese research papers. Through the research above, it allows the author to analyze the study case, Hideout, which is the author’s graduate production based on the idea and logic of circular economy. Hopefully, this research will draw the attention of the performing art field to sustainability.