在西方經濟體系邁入消費社會的型態下，服務業成為重點產業，隨之崛起的 文化創意產業更是其中的明星產業。臺灣自從2002年起將文化創意產業（Cultural and Creative Industries）標舉為產業發展重點，2010年通過的《文化創意產業發展 法》更明文規定將表演藝術納入產業項目，其後更結合觀光產業在2011年開始補 助民間推動文化觀光定目劇，這一系列影響劇場表演藝術發展走向的政策作為引 發了各方不同的見解，而爭議的核心在於：究竟文化創意產業的思維是帶給劇場 表演藝術一個產業出路的新契機？或是促成劇場表演藝術商品化，進而扼殺參與 的藝術家的創意與作品的品質，同時排擠了其他未參與的藝術家與作品？這樣的 爭論本質上是產業管理思維與藝術思維的交鋒。 本研究聚焦於以文化為思考主軸，說明上述爭論雙方思維在文化面向上思考 的不充分，一方面指出藝術本位想像的限制，另一方面也針對文化創意產業思維 的根源文化經濟學進行檢視，提示文化經濟學中對文化價值進行經濟學式的評 估，是此一學門的特殊之處，同時也是其局限之處。本研究進一步提出一個參照 文化社會學的藝術社會學取向的觀點，來考察臺灣當代文化創意產業思維下的劇 場表演藝術。本研究將參照格里斯沃（Wendy Griswold）的文化菱形（cultural diamond） 架構與亞歷山大（Victoria Alexander）參照此架構所建構出來的藝術社會學觀 點，提出一個透過檢視劇場演出、創造者、接收者（觀眾）及社會世界四者間錯 綜複雜的關連，以分析該劇場演出背後的表意結構與相對應的社會結構之間的交 互作用，進而勾勒出其文化意涵整體面貌的分析架構。此一文化菱形分析架構 的提出，乃期望藉由藝術社會學的導入，跳脫既有產業與藝術二元對立的思考模 式，提供一個以文化為本位的思考平臺，反思在文化創意產業思維影響下的劇場 表演藝術的發展及其背後的意涵。

In the age of the consumer society, cultural and creative industries have been considered as the bright future of national and international economies throughout the globe since the end of the second millennium. The government of Taiwan has been actively promoting and developing cultural and creative industries since 2002, and issued in 2010 the Act for Development of Cultural and Creative Industries, in which theatre arts, among many others, are included in the development plan. Moreover, in 2011 and 2012, The Council for Cultural Affairs in Taiwan made investments in theatre productions for cultural tourism in order to initiate the establishment of theatre industries. This series of policies to promote and develop theatre arts as cultural and creative industries draws, from theatre practitioners and scholars, various opinions which turned into a heated debate. The main issue at the core of this debate is whether the vision of developing cultural and creative industries casts a new light on the future of theatre arts in Taiwan, or acts as a temptation from the devil of vulgar commercialism. It is in fact a wrestle between the view from industries management and the idea of art for art’s sake. Arguments from both sides in the above debate are inadequate if considering theatre arts as a cultural phenomena embedded in a broader social context. On one hand, art for art’s sake is a naïve imagination without social consciousness. On the other hand, examination of the strengths and constraints of cultural economics, the foundation where the very idea of cultural and creative industries arises, indicates the partial and incomplete capability of this discipline to evaluate culture thoroughly. Yet, this research proposes a distinctive perspective from the sociology of the arts based on cultural sociology. Through the analytical framework of a cultural diamond developed by Wendy Griswold and then Victoria Alexander, this research points out that the examination of the contextual nexus among theatre performances, their creators/artists, receivers/ audiences, and social world is a key to the understanding of cultural and social fabrics of theatre performances. It provides an additional dimension to the current debate on theatre arts under the influence of the trend of booming cultural and creative industries.