本研究聚焦於臺灣表演藝術產業中，劇場觀眾負面體驗的來源與特徵。隨著社群平台興起，Facebook匿名粉絲專頁「黑特劇場 Hate Theatre」成為觀眾表達不滿的新管道，此類真實、第一手回饋補足官方問卷無法捕捉的細節。本文以期望不確認理論為基礎，將觀眾負面口碑視為期望落差的具體展現，透過系統性內容分析，梳理觀眾抱怨的主要面向及情緒強度，為劇場產業提供未來調整的參考。
研究採內容分析法，針對2023年4月1日至2025年4月9日間黑特劇場貼文，依據文獻與實務經驗，建構「表演品質」、「服務品質」及「抱怨歸因」三大分析架構，並邀請兩位具產業經驗的評分者，針對每則貼文進行負面強度評分。資料經統計與視覺化分析後，進一步比較不同節目屬性、演出類型及場域之負面經驗分布。
研究結果指出：系列節目服務品質觀眾負面體驗主要集中於「可靠性」與「保證性」兩構面，抱怨歸因則以行銷宣傳、節目選擇及周邊活動為主。單檔節目方面，無論戲劇、音樂或舞蹈類型，觀眾於表演品質之負面評論高度集中於「表演節目」本身；服務品質則以「可靠性」為核心，戲劇類型則需特別留意「有形性」服務之影響；其抱怨歸因則以展演內容藝術呈現為主軸。展演場域則以「有形性」與「可靠性」為主要服務品質之負面經驗來源，抱怨歸因則以座椅舒適度、觀眾干擾處理不足及空間動線指引為最主要之抱怨來源。此外，本研究亦發現「其他觀眾」行為所導致之高強度負面體驗，已成為劇場觀眾現場體驗中不可忽視的重要影響因素。

This study examines the sources and characteristics of negative experiences among theater audiences in Taiwan’s performing arts industry. With the rise of social media, the anonymous Facebook page “Hate Theatre” has become a major channel for audience complaints. These authentic first-hand comments reveal gaps that official surveys may overlook. Based on Expectation Disconfirmation Theory, this research views negative word-of-mouth as a direct result of unmet expectations. Through systematic content analysis, the study categorizes audience complaints and rates the intensity of negative emotions, aiming to provide practical recommendations for the industry.
Using content analysis, this research analyzes posts from “Hate Theatre” between April 1, 2023, and April 9, 2025. The coding framework includes three dimensions: performance quality, service quality, and complaint content. Two industry experts rated the negativity of each post. The results, supported by statistical and visual analysis, compare negative experiences across program types, performance genres, and venues.
Findings indicate that, for series programs, audience dissatisfaction regarding service quality is primarily concentrated on “reliability” and “assurance,” with complaint attributions centered on marketing, program selection, and peripheral activity planning. In single events, whether drama, music, or dance, audience complaints about performance quality are highly concentrated on the “performance itself,” while service quality issues focus on “reliability,” with “tangibles” also notable in drama programs. The core source of complaint attribution is the artistic presentation of the performance. For venues, negative experiences are mainly associated with “tangibles” and “reliability” in service quality, and the key complaint attributions include seat comfort, insufficient handling of audience disruptions, and unclear spatial navigation. Additionally, this study finds that disruptive behaviors by “other audience members” have become a significant and high-intensity source of negative experiences—an increasingly critical factor influencing overall theater satisfaction.

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