旅游演艺业态创新驱动因素的扎根研究
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摘要
近年来，旅游演艺业因其业态的持续创新和对市场需求的准确把握，已在全国各大小旅游区内迅速蔓延，对地方经济的发展、产业结构的调整、就业人数的增加等都起到了良好的促进作用。以山水实景演出为例，自2004年印象·刘三姐公演以来，目前国内旅游市场上已出现了两百多台旅游演艺产品，并且该数字仍在不断增加中。以山水实景演出为代表的结合声光电等高新技术进行提质升级的旅游演艺产品，已成为旅游区发展的新兴增长点。
然而，在理论研究层面，国内外对旅游演艺业的研究主要集中在其产品层面，且研究多集中于个别地区的典型案例研究，少有产业业态发展层面的研究。首先，关于旅游演艺业的概念不清晰，这使得该行业没有一个统一的界定标准，“演出”、“演艺”、“表演”等各种名词充斥了这个行业的研究体系，造成各研究所指对象存在一定的出入，进而影响到深入研究时相关内容的统一。其次，旅游演艺业归属的产业范围不清晰，本研究在梳理大量文献中发现有学者将旅游演艺业归属于旅游业、文化产业或者文化创意产业等,这使得具有较强竞争实力的旅游演艺企业可不同程度享受新兴产业的优势，却阻碍同一竞争市场上小规模、零散经营企业的发展，进而影响其创意经营。第三，旅游演艺业创新发展的驱动机制不清晰，技术、产品、创意、政策等都是旅游演艺业不断发展与创新的驱动力因素，但这些因素是如何构筑成一个完整的驱动机制尚不明晰，更缺乏较为完整的理论指导，旅游演艺业仍然处在“摸着石头过河”的经验主义状态中。
本研究经过大量的文献梳理，认为旅游演艺具备有以下几个特点：（1）旅游演艺的活动范围在旅游景区内；（2）旅游演艺的意图在于吸引游客，尤其是外地旅游者；（3）旅游演艺有专门的演出人员、以及特定的演出场所（含山水实景、剧院、酒店、大型广场等）；（4）旅游演艺的演出内容主要是表现该地区历史文化或民俗风情。在对国内外关于旅游演艺的研究现状进行整理时，本研究发现国外的研究主要体现在剧团演艺的起源、发展、创新、管理，以及对顾客的吸引等方面。由于国外旅游演艺这种新型业态并没有形成规模化发展态势，因此，国外理论界也鲜有以旅游演艺为专业名词进行的研究。而在国内，随着以山水实景演出为代表的新型旅游演艺业态的兴起和发展，关于旅游演艺的研究，有基于成功案例的探析，也有对其开发程度、开发策略、品牌体系、资本运作、商业模式、文化开发的探讨。但现有研究多为对旅游演艺业的发展现状的总结与未来发展的局部策略建议，少有关于促使旅游演艺业这一新兴业态形成和发展的驱动力及其驱动机制的研究。本研究就旅游演艺业的业态创新驱动机制进行研究，试图完成新的理论探索与建构，从而丰富旅游演艺业的相关理论体系。
本研究的主要任务是构建旅游演艺业的业态创新驱动机制图，并探寻在旅游演艺业的不同发展阶段，各驱动力发挥作用大小的变化情况，从而为后继旅游演艺业的持续创新，提供理论指导。为此，本文运用案例研究和扎根理论两大质化研究方法，精选了印象·刘三姐、魅力湘西、天门狐仙三个国内最具代表性的旅游演艺项目进行扎根分析和比较研究，以求探寻出旅游演艺业的业态创新驱动机制。案例研究是验证理论、阐释概念、发现和描述未知现象的有效研究方法；扎根理论是基于原始资料进行理论构建的研究方法，与一般的基于假设进行检验的质化研究相区别，避免主观假设的研究偏颇。根据案例研究选取典型案例，以及根据扎根理论从原始资料中发展概念和形成理论，得出研究的核心观点。
本研究采用扎根理论的研究方法，通过访谈、实地观访、网络、期刊文献、报纸等渠道，按照一定的分配比例，从各渠道中收集了大量的关于印象·刘三姐、魅力湘西、天门狐仙三个案例的原始资料，为形成概念和发展理论奠定多重证据基础。分章对三案例进行开放译码和主轴译码之后，本研究继而通过跨案例比较，识别出10个关键点，并根据这10个关键点的相互关系及其作用，构建了旅游演艺业的业态创新驱动机制图。
本研究得出旅游演艺业业态创新驱动机制的十大驱动因子：需求市场、旅游地资源、主创团队创意、政府支持、产业融合、技术、资本、管理层、利益相关以及产品创作，并构建了旅游演艺业业态创新驱动机制图。同时针对不同个案作用力的组合状况，研究分析在旅游演艺业的不同发展阶段中，驱动其业态创新的因素作用力组合状况及其演化机理。需求市场是驱动旅游演艺业业态创新的第一动力；主创团队受需求市场的启发与旅游地资源的刺激形成创意；在管理层关于技术和资本的可行性分析下决定是否执行创意；创意的执行结果以产品创作的形式通过利益相关（如剧团、旅行社等）呈现给市场；根据市场反馈的信息，主创团队和管理者针对市场反响进行相应的提质改良。而在整个过程中，政府支持和供给市场的优胜劣汰竞争法则持续刺激着旅游演艺业的不断规范化和业态创新。
After years of experience in the tourism activities in the Southwest China areawhere the minority people live and research on the entertaining enterprises in this area,We finds that the travel performing arts products has been a miracle in the creativedevelopment of tourism in the areas where the minority people live. The types ofTravel Performing Arts Products has been developing continuously, spreading in allkinds of tourist resorts, enhancing the development of local economy, the adjustmentof industrial structure, and the increase of employment. Taking the mountain-waterlive-action performance for example, since2004when Impression: Liu Sanjie wentpublic, over two hundred similar live-action shows have been developed in the touristmarket in China, and the number is still growing. Featured with mountain-waterlive-action performance, the travel performing arts industry use high technologies oflight and electricity, which have become a new growth point in the development oftourism.
However, on the level of theoretic research, the study on Travel Performing ArtsProducts has fallen behind. The existing researches primarily focus on some specificsamples in some certain areas, lacking of an entire theoretic system. First, the conceptof Tourist Performance Products is not clear, which prevents the whole industry frombuilding universal standards. Terms such as acting, entertaining, and performing havefilled the research system of this industry, making divergences of the objects studiedin different programs to the disadvantage of having systematically related researchingresults. Second, the boundaries of the industry are not clear. In our research we havefound many researchers attribute Travel Performing Arts Products to tourism, culturalindustry, or cultural creative industry, which gives the competitive companiesproviding Travel Performing Arts Products great chances to enjoy the advantage ofnew industry, but harms the development of the small-scaled companies which arecompeting in the same market but end up restricted in their creative operation. Third,the motivating of the development of Travel Performing Arts Products is not clear.Technology, products, original ideas, and policies are the driving factors in thedevelopment of Ttravel Performing Arts Products, but how these factors worktogether to form a whole motivating system in not clear yet, lacking of full theoreticguidance. Travel Performing Arts Products is in its status of experimenting and learning.
Travel Performing Arts Products is supposed to have the following features as aconclusion of our research on abundant literatures:(1) the scope of Travel PerformingArts Products is within the tourist resorts;(2) the intention of Travel Performing ArtsProducts is to attract tourists, especially those from other places;(3) there are specificpersonnel and positions including mountain and water, theater, restaurant and hugeplaza for Travel Performing Arts Products;(4) the content of Travel Performing ArtsProducts is primarily to depict the local historical culture or customs. During collatingthe worldwide status of research on Travel Performing Arts Products, we found thatthe abroad researchers focused on the origins, development, creativity, andmanagement of troupe performance and its attraction to customers. Travel PerformingArts Products hasn’t form a large scale in other countries, so in the theory there arefew researchers studying especially Travel Performing Arts Products. Domestically,along with the rising of new type of Travel Performing Arts Products featured withmountain-water live-action shows, research programs on Travel Performing ArtsProducts span analysis on successful cases and discussion on the development level,development stratagem, brand system, capital operation, commercial mode andcultural development. However, most of such research programs focus onsummarizing the current situation of Travel Performing Arts Products and partlysuggesting about future development, and few did study the motivating andmotivating system of the founding and development of this new industry. Thisresearch is to finish a new exploration and structure building of a new theory to enrichthe theoretic system of Travel Performing Arts Products by studying the motivatingsystem of creativity in Travel Performing Arts Products.
The major task of this research is to draw the map of the creativity motivatingsystem in this industry and explore the changes of the usage of motivating factorsduring the different stages of Travel Performing Arts Products, so to provide theoreticguidance for the continual development of Travel Performing Arts Products in thefuture. For this reason, this article employs two researching methods ofmaterialization which are case study and grounded theory and picks threerepresentative Travel Performing Arts Products programs including Impression: LiuSanjie, Charming Western Hunan, and Tianmen Fox Immortal, to find the creativitymotivating system of Travel Performing Arts Products in the areas where the minoritylives. Case study is efficient to prove the theories and explain concepts, discover and depict the unknown phenomena, while the grounded theory is building theories basedon raw materials, different from the materialization research to prove somethingsettled hypothetically, avoiding the mistakes of subjective assumption. We picktypical examples and develop the concepts to form theories from raw materials, inwhich way the core viewpoint of this program is concluded.
This research program employs grounded theory, collecting abundant rawmaterials about Impression: Liu Sanjie, Charming Western Hunan, and Tianmen FoxImmortal by interview, field research, Internet, journals, and newspapers by certainproportions, building the proving basis of concept formation and theoreticdevelopment. After chapters of open coding and axial coding of the three examples,by comparison of different cases, ten key points are found out and the co-workingsystem and effects of which are based to draw the map of the creativity motivatingsystem in this industry.
The key driving factors in Travel Performing Arts Products for creativity aremarket demand, resource of tourist resorts, original ideas of the creativity team,support from government, industry integration, technology, capital, management,interest dynamic system and product creation. The map of the creativity motivatingsystem in this industry has also been finished. In allusion to the differentcombinations of the factors’ effects in different cases, the results suggest that thecombination of the factors’ effects varies in different stages of the development.Market demand is the top motivating factor in Tourist Performance Products; Thecreating teams have their original ideas under the inspiration of the market and thestimulation of local resources; the management decides whether the ideas should berealized according to the feasibility analysis of technology and capital; the result ofthe realization of the ideas is presented to the market by interest-wise related unitssuch us troupes and travel agencies; according to the feedback of the market, thecreating team and management develop the programs. In the entire procedure, thesupport of government and the jungle law of supplying market stimulate the industryinto normalization and industrial creation.
然而，在理论研究层面，国内外对旅游演艺业的研究主要集中在其产品层面，且研究多集中于个别地区的典型案例研究，少有产业业态发展层面的研究。首先，关于旅游演艺业的概念不清晰，这使得该行业没有一个统一的界定标准，“演出”、“演艺”、“表演”等各种名词充斥了这个行业的研究体系，造成各研究所指对象存在一定的出入，进而影响到深入研究时相关内容的统一。其次，旅游演艺业归属的产业范围不清晰，本研究在梳理大量文献中发现有学者将旅游演艺业归属于旅游业、文化产业或者文化创意产业等,这使得具有较强竞争实力的旅游演艺企业可不同程度享受新兴产业的优势，却阻碍同一竞争市场上小规模、零散经营企业的发展，进而影响其创意经营。第三，旅游演艺业创新发展的驱动机制不清晰，技术、产品、创意、政策等都是旅游演艺业不断发展与创新的驱动力因素，但这些因素是如何构筑成一个完整的驱动机制尚不明晰，更缺乏较为完整的理论指导，旅游演艺业仍然处在“摸着石头过河”的经验主义状态中。
本研究经过大量的文献梳理，认为旅游演艺具备有以下几个特点：（1）旅游演艺的活动范围在旅游景区内；（2）旅游演艺的意图在于吸引游客，尤其是外地旅游者；（3）旅游演艺有专门的演出人员、以及特定的演出场所（含山水实景、剧院、酒店、大型广场等）；（4）旅游演艺的演出内容主要是表现该地区历史文化或民俗风情。在对国内外关于旅游演艺的研究现状进行整理时，本研究发现国外的研究主要体现在剧团演艺的起源、发展、创新、管理，以及对顾客的吸引等方面。由于国外旅游演艺这种新型业态并没有形成规模化发展态势，因此，国外理论界也鲜有以旅游演艺为专业名词进行的研究。而在国内，随着以山水实景演出为代表的新型旅游演艺业态的兴起和发展，关于旅游演艺的研究，有基于成功案例的探析，也有对其开发程度、开发策略、品牌体系、资本运作、商业模式、文化开发的探讨。但现有研究多为对旅游演艺业的发展现状的总结与未来发展的局部策略建议，少有关于促使旅游演艺业这一新兴业态形成和发展的驱动力及其驱动机制的研究。本研究就旅游演艺业的业态创新驱动机制进行研究，试图完成新的理论探索与建构，从而丰富旅游演艺业的相关理论体系。
本研究的主要任务是构建旅游演艺业的业态创新驱动机制图，并探寻在旅游演艺业的不同发展阶段，各驱动力发挥作用大小的变化情况，从而为后继旅游演艺业的持续创新，提供理论指导。为此，本文运用案例研究和扎根理论两大质化研究方法，精选了印象·刘三姐、魅力湘西、天门狐仙三个国内最具代表性的旅游演艺项目进行扎根分析和比较研究，以求探寻出旅游演艺业的业态创新驱动机制。案例研究是验证理论、阐释概念、发现和描述未知现象的有效研究方法；扎根理论是基于原始资料进行理论构建的研究方法，与一般的基于假设进行检验的质化研究相区别，避免主观假设的研究偏颇。根据案例研究选取典型案例，以及根据扎根理论从原始资料中发展概念和形成理论，得出研究的核心观点。
本研究采用扎根理论的研究方法，通过访谈、实地观访、网络、期刊文献、报纸等渠道，按照一定的分配比例，从各渠道中收集了大量的关于印象·刘三姐、魅力湘西、天门狐仙三个案例的原始资料，为形成概念和发展理论奠定多重证据基础。分章对三案例进行开放译码和主轴译码之后，本研究继而通过跨案例比较，识别出10个关键点，并根据这10个关键点的相互关系及其作用，构建了旅游演艺业的业态创新驱动机制图。
本研究得出旅游演艺业业态创新驱动机制的十大驱动因子：需求市场、旅游地资源、主创团队创意、政府支持、产业融合、技术、资本、管理层、利益相关以及产品创作，并构建了旅游演艺业业态创新驱动机制图。同时针对不同个案作用力的组合状况，研究分析在旅游演艺业的不同发展阶段中，驱动其业态创新的因素作用力组合状况及其演化机理。需求市场是驱动旅游演艺业业态创新的第一动力；主创团队受需求市场的启发与旅游地资源的刺激形成创意；在管理层关于技术和资本的可行性分析下决定是否执行创意；创意的执行结果以产品创作的形式通过利益相关（如剧团、旅行社等）呈现给市场；根据市场反馈的信息，主创团队和管理者针对市场反响进行相应的提质改良。而在整个过程中，政府支持和供给市场的优胜劣汰竞争法则持续刺激着旅游演艺业的不断规范化和业态创新。
After years of experience in the tourism activities in the Southwest China areawhere the minority people live and research on the entertaining enterprises in this area,We finds that the travel performing arts products has been a miracle in the creativedevelopment of tourism in the areas where the minority people live. The types ofTravel Performing Arts Products has been developing continuously, spreading in allkinds of tourist resorts, enhancing the development of local economy, the adjustmentof industrial structure, and the increase of employment. Taking the mountain-waterlive-action performance for example, since2004when Impression: Liu Sanjie wentpublic, over two hundred similar live-action shows have been developed in the touristmarket in China, and the number is still growing. Featured with mountain-waterlive-action performance, the travel performing arts industry use high technologies oflight and electricity, which have become a new growth point in the development oftourism.
However, on the level of theoretic research, the study on Travel Performing ArtsProducts has fallen behind. The existing researches primarily focus on some specificsamples in some certain areas, lacking of an entire theoretic system. First, the conceptof Tourist Performance Products is not clear, which prevents the whole industry frombuilding universal standards. Terms such as acting, entertaining, and performing havefilled the research system of this industry, making divergences of the objects studiedin different programs to the disadvantage of having systematically related researchingresults. Second, the boundaries of the industry are not clear. In our research we havefound many researchers attribute Travel Performing Arts Products to tourism, culturalindustry, or cultural creative industry, which gives the competitive companiesproviding Travel Performing Arts Products great chances to enjoy the advantage ofnew industry, but harms the development of the small-scaled companies which arecompeting in the same market but end up restricted in their creative operation. Third,the motivating of the development of Travel Performing Arts Products is not clear.Technology, products, original ideas, and policies are the driving factors in thedevelopment of Ttravel Performing Arts Products, but how these factors worktogether to form a whole motivating system in not clear yet, lacking of full theoreticguidance. Travel Performing Arts Products is in its status of experimenting and learning.
Travel Performing Arts Products is supposed to have the following features as aconclusion of our research on abundant literatures:(1) the scope of Travel PerformingArts Products is within the tourist resorts;(2) the intention of Travel Performing ArtsProducts is to attract tourists, especially those from other places;(3) there are specificpersonnel and positions including mountain and water, theater, restaurant and hugeplaza for Travel Performing Arts Products;(4) the content of Travel Performing ArtsProducts is primarily to depict the local historical culture or customs. During collatingthe worldwide status of research on Travel Performing Arts Products, we found thatthe abroad researchers focused on the origins, development, creativity, andmanagement of troupe performance and its attraction to customers. Travel PerformingArts Products hasn’t form a large scale in other countries, so in the theory there arefew researchers studying especially Travel Performing Arts Products. Domestically,along with the rising of new type of Travel Performing Arts Products featured withmountain-water live-action shows, research programs on Travel Performing ArtsProducts span analysis on successful cases and discussion on the development level,development stratagem, brand system, capital operation, commercial mode andcultural development. However, most of such research programs focus onsummarizing the current situation of Travel Performing Arts Products and partlysuggesting about future development, and few did study the motivating andmotivating system of the founding and development of this new industry. Thisresearch is to finish a new exploration and structure building of a new theory to enrichthe theoretic system of Travel Performing Arts Products by studying the motivatingsystem of creativity in Travel Performing Arts Products.
The major task of this research is to draw the map of the creativity motivatingsystem in this industry and explore the changes of the usage of motivating factorsduring the different stages of Travel Performing Arts Products, so to provide theoreticguidance for the continual development of Travel Performing Arts Products in thefuture. For this reason, this article employs two researching methods ofmaterialization which are case study and grounded theory and picks threerepresentative Travel Performing Arts Products programs including Impression: LiuSanjie, Charming Western Hunan, and Tianmen Fox Immortal, to find the creativitymotivating system of Travel Performing Arts Products in the areas where the minoritylives. Case study is efficient to prove the theories and explain concepts, discover and depict the unknown phenomena, while the grounded theory is building theories basedon raw materials, different from the materialization research to prove somethingsettled hypothetically, avoiding the mistakes of subjective assumption. We picktypical examples and develop the concepts to form theories from raw materials, inwhich way the core viewpoint of this program is concluded.
This research program employs grounded theory, collecting abundant rawmaterials about Impression: Liu Sanjie, Charming Western Hunan, and Tianmen FoxImmortal by interview, field research, Internet, journals, and newspapers by certainproportions, building the proving basis of concept formation and theoreticdevelopment. After chapters of open coding and axial coding of the three examples,by comparison of different cases, ten key points are found out and the co-workingsystem and effects of which are based to draw the map of the creativity motivatingsystem in this industry.
The key driving factors in Travel Performing Arts Products for creativity aremarket demand, resource of tourist resorts, original ideas of the creativity team,support from government, industry integration, technology, capital, management,interest dynamic system and product creation. The map of the creativity motivatingsystem in this industry has also been finished. In allusion to the differentcombinations of the factors’ effects in different cases, the results suggest that thecombination of the factors’ effects varies in different stages of the development.Market demand is the top motivating factor in Tourist Performance Products; Thecreating teams have their original ideas under the inspiration of the market and thestimulation of local resources; the management decides whether the ideas should berealized according to the feasibility analysis of technology and capital; the result ofthe realization of the ideas is presented to the market by interest-wise related unitssuch us troupes and travel agencies; according to the feedback of the market, thecreating team and management develop the programs. In the entire procedure, thesupport of government and the jungle law of supplying market stimulate the industryinto normalization and industrial creation.
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