表演藝術在台灣發展多年來，各地演藝廳陸續興建，演出活動日益密集，觀眾也漸漸養成購票觀賞演出的習慣，台灣的「表演藝術市場」隱然成型。然而，雖經各方的努力，表演藝術市場在台灣仍屬於小眾市場，許多人至今未曾有「購票」觀賞表演藝術節目的經驗。依據『中華民國九十一年表演藝術生態報告』的統計資料，該年有演出的172個國內表演藝術團隊共演出場次5,527場，但售票場次僅有1,248場，只達22.6%。可見台灣的民眾對於表演藝術的消費觀念，仍有待提昇，表演藝術市場尚待努力開發。
「表演藝術」是一個特殊的產業，其產品（演出節目）受到時間、空間的限制，具有絕對的「易逝性」。對於消費者（觀眾）而言，在未觀賞節目之前，如何判斷節目優劣？「口碑」即成為很重要的消費決策參考依據。因此如能善用口碑加強推廣，將可促進表演藝術市場的開發。
本研究分別對於音樂、舞蹈、戲劇及傳統戲曲等不同類別節目觀眾進行問卷調查，並經過統計分析，期望能瞭解在表演藝術市場中，口碑對於消費者決策各階段的影響及其流通管道，以及讓觀眾形成正面口碑之重要外在影響因素。並依據受訪者對於「表演藝術」節目之觀賞偏好，找出古典音樂、傳統音樂、芭蕾舞、現代舞、舞台劇、實驗劇及傳統戲曲七類忠實觀眾，加以分析其特性，研究結果應可作為表演藝術界進一步運用口碑行銷的參考。也期望未來在相關領域有更多的分析研究，幫助台灣表演藝術產業更加蓬勃發展。

Through the durable effort in the past few decades, the performing arts begin to prosper in Taiwan with more and more audiences attending the performances. At the same time, people get used to the idea that they have to pay for the performances they attend. It shows the potential in building up the local “Performing Arts Market.” However, a lot of people still have the impression that the performances should be offered as the“free lunch.” So we should try harder to raise the ratio of consumers for Performing Arts Market.
Performing Arts is a special kind of industry. The programs, its product, are unique because they are difficult to reproduce. To most of the consumers (the audiences), they have to rely on the word-of-mouth(WOM) assessments to evaluate the programs before they make the decision to buy the tickets. How to use WOM as part of the promoting policies is worth studying.
My study is based on the survey on the Consumer Buying Decision Process of the audiences who attended performances of different categories of performing arts. The statistical analysis of the questionnaires was processed with the hope to understand the relationship between the WOM and buying decision, the paths the WOM assessments spread, and the criteria the audiences use to make positive WOM assessments. Individual analysis is performed in seven categories of performing arts which include classical music, traditional music, ballet, contemporary dance, theatre, experimental theatre, and traditional Chinese opera to cross out the bias. I hope the result of my study will be the reference for the administrators of performing arts when they want to use the WOM in marketing and promoting.

中文部份
1. 于善祿，民國九十三年，「思索戲劇界產業化的可能性」，表演藝術：啟動創意新商業，典藏藝術家庭，頁2-9。
2. 行政院文化建設委員會，民國九十四年，「九十三年度臺閩地區藝文展演活動統計」，行政院文化建設委員會。
3. 夏學理、耿建興，民國八十七年，「表演藝術之媒體行銷研究」，空大行政學報，第八期，頁307-337。
4. 國立中正文化中心，民國九十二年，「中華民國九十一年表演藝術年艦」，台北國立中正文化中心。
5. 國立中正文化中心，民國九十五年，「國立中正文化中心九十四年度報告」，台北國立中正文化中心。
6. 張美惠譯， Wurman, Richard Saul著，民國八十三年，「資訊焦慮（Information Anxiety）」，台北時報文化出版。
7. 蔡美玲譯，民國七十五年，「表演藝術--藝術活動欣賞指南」，台北好時年出版。
8. 樓永堅述，劉麗婷文字整理，民國九十三年，「表演藝術的行銷思維」，表演藝術：啟動創意新商業，典藏藝術家庭，頁64-72。
9. 盧希鵬，民國九十四年，「網路行銷：電子化企業經營策略」，台北雙葉書廊出版。

英文部份
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