本研究以台灣原創品牌《小伴桌》為個案，探討「體驗型文化IP」的經營邏輯與永續發展策略。《小伴桌》為「新台式食戲酒宴」概念品牌，融合台灣傳統辦桌文化、沉浸式音樂劇場與在地名廚料理，於2022年夏季在松山文創園區首度公開營運，三個月限定期間共演出14場、服務4,358人次，營收約新台幣1,000萬元。
本研究採用創業者自我個案研究法，以研究者同時作為品牌創辦人的獨特視角，結合一手營運資料、媒體報導與主題分析法，針對三個研究問題進行分析：(1)探討體驗型IP如何從在地文化中萃取可經營的敘事資產與體驗模板；(2)分析其商業模式的運作與從限定活動轉型為IP經營系統的關鍵要素；(3)探討永續發展策略與授權治理機制。
研究發現，體驗型IP的核心資產並非單一角色或圖像，而是「敘事資產」與「體驗模板」的雙層組合。敘事資產構成IP的辨識度與情感深度，體驗模板構成IP的可操作性與可複製性。在商業模式方面，體驗型IP的高固定成本結構要求營收從「場次驅動」轉向「IP槓桿驅動」，具體需要體驗模板的模組化、品質標準的明文化、合作網絡的平台化（Platformization）與營收模式的多元化四項轉型要素。在永續策略方面，本研究提出「永續三構面」框架——敘事永續（IP內容的持續演化能力）、社群永續（受眾關係的維繫與深化）、商業永續（營收模式的多元化與授權複製）——並指出三者之間的正向循環關係。研究同時基於國際標竿案例（teamLab, Punchdrunk, Le Petit Chef），規劃了分級授權策略（旗艦體驗、主題展覽、商品聯名）與三階段品質控管機制。
本研究的理論貢獻在於提出「體驗型IP」的概念化框架、將文化轉譯理論應用於IP分析、以及發展「永續三構面」分析工具。此外，本研究引入Anderson等人（2025）的沉浸式服務四特徵框架與Yu與Li（2025）的互動行銷劇場美學模型，豐富了對體驗型IP結構設計與消費者自主性的理論分析。實務上，本研究為文創業者提供了體驗型IP經營的策略路徑，並為政策制定者提出擴大IP支持範圍、建立授權治理資源與促進場域合作制度化等建議。

This study examines the management logic and sustainable development strategy of "experience-based cultural IP" through a case study of Bandoh Together: First Meet (小伴桌), a Taiwanese original brand. Positioned as a "New Taiwanese Food-Theater-Wine Banquet," Bandoh Together: First Meet integrates traditional Taiwanese banquet (ban-zhuo) culture, immersive musical theater, and artisanal cuisine from renowned local chefs. During its inaugural limited run at Songshan Cultural and Creative Park in the summer of 2022, the brand staged 14 performances, served 4,358 guests, and generated approximately NT$10 million in revenue over three months.
Employing an entrepreneur self-case study methodology, the researcher—who is also the brand's founder—combines first-hand operational data, media coverage analysis, and thematic analysis to address three research questions: investigating how experience-based IP extracts manageable narrative assets and experience templates from local culture, analyzing the brand's business model and the key elements required for transitioning from a limited-run event to a sustainable IP management system, and exploring sustainable development strategies and licensing governance mechanisms.
The study finds that the core assets of experience-based IP are not singular characters or images but a dual-layer combination of "narrative assets" (worldview, brand story, cultural codes) and "experience templates" (spatial design, service flow, sensory design, quality standards). Regarding business model transformation, the high fixed-cost structure of experience-based IP necessitates a shift from "show-driven revenue" to "IP-leveraged revenue," requiring four key elements: modularization, codification, platformization, and diversification. For sustainability, the study proposes a "Three Dimensions of Sustainability" framework—narrative sustainability, community sustainability, and commercial sustainability—and identifies their mutually reinforcing cyclical relationship. Drawing on international benchmarks (teamLab, Punchdrunk, Le Petit Chef), the study also designs a tiered licensing strategy with a three-phase quality control mechanism.
The theoretical contributions include conceptualizing "experience-based IP" as a distinct category, applying cultural translation theory to IP analysis, and developing the Three Dimensions of Sustainability framework. Additionally, the study incorporates Anderson et al.'s (2025) four characteristics of immersive service and Yu and Li's (2025) dramaturgical framework for interactive marketing, enriching the theoretical analysis of experience-based IP's structural design and consumer autonomy. Practically, the study provides strategic pathways for cultural creative entrepreneurs and policy recommendations for expanding IP support mechanisms, establishing licensing governance resources, and institutionalizing venue partnerships.

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網路與媒體資料
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