全球疫情風暴下的臺灣流行音樂演唱會製作之危機處理

Abstract

超前部署，2020年台灣最為流行的名詞，在疫情風暴席捲全世界的當下，台灣流行音樂產業遭受到嚴重的打擊，表演幾乎全面性停擺，展演消費市場脆弱不堪一擊，在本次疫情影響下展露無遺。展演消費市場是極度會受到環境變化影響的產業，更是消費的末端，就其他的消費市場是相對的弱勢，最快受影響也最慢復甦，目前並沒有常態性的機制來救援此產業，在後防疫時期，該如何計劃未來、未雨綢繆，並做好風險控管，減少損失及災害，是當務之急。本研究將就三個構面：政策端、產製端、消費端針對因全球疫情而受影響取消或延期節目案例（如：「因為愛琴」演唱會、「民歌45」演唱會）的上下游廠商及消費者進行深度訪談，並加入研究者在產業工作三十年的經驗及參考文獻、次級資料等，探討在未來如何看見問題、解決問題、改善問題。在新媒體不斷的演化之下，如何開發新的財源，並企圖尋找出因應未來新型態的展演模式，以面對全世界共同的挑戰。“Implementing preventive measures” is the most popular phrase of 2020 in Taiwan. Under the COVID-19 pandemic, the popular music performance industry has been greatly impacted by the virus because nearly all concerts are canceled and most of the live exhibitions have to be put on hold. The performing arts industry is very sensitive to various external factors; especially, the industry is the “sales terminal” which means it is relatively fragile compared to other consumer markers. Therefore, the performing arts industry could be affected by the external factors immediately and have slowest recovery afterwards. Currently, there is no comprehensive measures to facilitate the industry in this current pandemic situation. Hence, in the post-pandemic era, having a backup plan and implementing crisis management measures are important for reducing the potential risks and damages. This research is a series of in-depth interviews with upstream, downstream suppliers and consumers from three perspectives of political side, production side and consumer side in relation to the concerts and programs that are cancelled or postponed due to global pandemic (ex. Guitar Maniac Concert and Folk Song 45). This study also includes the researcher’s 30 years of experience in the industry, various references and secondary materials in order to foresee the problems, solve the problems and improve the situations. Under the constant evolving new media environment, it is imperative to explore new revenue stream and discover new form of performing arts in the future in attempt to cope with this global challenge.