當文化產業成為一種新的經濟型態，加入了創意的元素與行銷包裝之後，更是帶來許多商機與經濟價值。多數資料顯示，在文本產製的過程中，創作者的創意會受到商業利益的扼殺；其次，雖然閱聽者在文化脈絡裡，只是被動接受的消費者，然而，部分學者仍傾向支持閱聽者，對於文本的建構仍有其影響力與責任。是以，本文將從文化產製角度切入，才能對文化生產的歷程有深入了解，進而探討文本與創作者和閱聽人三者之間的關係。本文以明華園為研究對象，將分析陳孟亮(2002)、康素慧(2002)、楊永喬(2001)、郭慧敏(2003)等四篇學位論文。試著探討傳統戲曲文化商品化之後，創新元素的本質，及新舊元素融合的歷程與問題；並了解傳統戲曲產出與再現過程中，觀眾、消費者所扮演的角色。從文獻資料中發現，明華園基於創新理念，與滿足觀眾需求，不斷求新求變，將本土的劇種包裝精美，且具有舞台風格的現代歌仔戲；但是資料中亦表示改變幅度太大多少還是會受到阻力；再者，明華園產製者的身分是會決定文化商品形式，控制文化市場?還是真能忠實呈現觀眾喜好?The cultural industry has been new economy. In the operative process of produces, the creativity of creator may be limited. Although reader is a passive consumer, he also has few influence on operative process of texts. The article is about the operative process of cultural industry. And it is a study about the corelation among creators, texts and readers.The article treats the traditional opera, Ming hua yuan. Ming hua yuan fusions tradition and innovation. We want to explore the traditional opera change the essence of tradition or not, after commercialization. Does innovation in the traditional opera cause the conflict? And we also want to know how the roles which consumers play in the operative process of traditional opera. The report showed that few consumers are unaccustomed to a lot of innovations.Ming hua yuan is a famed theater. It is a producer, too. In the operative process, does it respect consumers’ likes or control the forms of produces.
