在體驗經濟潮流的當下，表演藝術透過不同形式給予觀眾不同的感官體驗，而在文化與歷史脈絡中，布袋戲漸漸成為臺灣相當具代表性的文化表演活動，近年來由於戲劇傳統的薪傳與沒落，致使小型劇團缺乏觀賞人口，促使劇種創新逐漸成為表演的發展趨勢，但受限於人力及經費，以及普遍使用問卷及訪談等無法有效且促進單一劇目改善的觀眾調查，劇團在表演場次間難以檢討及修正。探索目前文獻包含觀眾參與度量測、戲劇特質、基本情緒，設計「以預期為基之觀眾反應量測模式」，歸納互動、愉悅、驚訝三項反應，模式架構分為事前準備與量測分析，事前準備包括有關劇本相關資料的整備，表演和觀眾的實時紀錄，以及傳統觀眾調查的問卷與訪談，量測分析則透過紀錄進行圖表繪製、反應落差歸納、指標計算等。
經提出創新反應量測模式，本研究以「清華閣周祐名布袋戲團」之劇目「豬頭村歷險記」做為實驗背景，於 2017年1至2月間分別於嘉義與臺南實施連續三場次演出，驗證模式可行性，探討觀眾反應圖表的可視性、量測細節的合理性。有效性驗證則探討嘉義場所分析之反應落差因素，實施後發現相對於互動與驚訝，愉悅屬適合用以改善及學習之觀眾反應，因此針對劇情中愉悅反應落差劇烈部分進行調整，並於2019年4月2號進行慈濟國小的演出，對照組A場以原劇本進行表演，實驗組B場則以可行性測試所獲取結果從而改善與學習，結果顯示量測模式在兩場次間易實施，而其中反應指標並無明顯差異，係因於實驗場次觀眾眾多，更改橋段難以影響整體演出效果，因此進一步分析改劇橋段之愉悅程度，顯示經模式調整之劇本中，觀眾實時反應皆滿足預期描述。
預期為基之量測模式之貢獻有四，(1)有效透過預期描述與實際反應的紀錄量化，提供表演方演出分析的再參考；(2)反應指標分析提出整體表現數據化，從不同面向檢視演出成效；(3)透過傳統觀眾調查結果與模式結合，建立演出團體在劇本改善與學習之基礎，(4)調查工具用以分析即興比例與效果，使演方在未來調整自身演出，最終使小型劇團在人力經費困難的背景中，達單劇目演出品質之提升。

In the current experience of economic trends, performing arts gives audiences different sensory experiences through different forms. In the context of culture and history, the puppet show has gradually become a representative cultural performance in Taiwan. In recent years, due to the traditional tradition of pay and The decline has caused the small theater group to lack the ornamental population, which has made the innovation of the drama gradually become the development trend of the performance, but it is limited by the manpower and funds, as well as the general use of questionnaires and interviews, etc., which are not effective and promote the improvement of the single drama. It is difficult to review and amend. Exploring the current literature includes audience participation in measurement, drama characteristics, basic emotions, designing "predictive-based audience response measurement mode", inductive interaction, pleasure, and surprise. The model structure is divided into pre-preparation and measurement analysis. The preparations include the preparation of the relevant materials for the script, the real-time records of the performances and audiences, and the questionnaires and interviews of the traditional audience surveys. The measurement analysis is based on the charts, the summary of the response, and the calculation of the indicators.
Based on the innovative response measurement model, this study uses the "Tsinghua Club Zhouyou Famous Puppet Troupe" repertoire "Pigtou Village Adventures" as the experimental background. It performed three consecutive performances in Chiayi and Tainan from January to February 2017. To verify the feasibility of the model, to explore the visibility of the audience response chart and the rationality of the measurement details. Validity verification explores the reaction gap factors in Chiayi's site analysis. After implementation, it is found that relative to interaction and surprise, pleasure is suitable for the audience response to improve and learn. Therefore, the dramatic response to the dramatic change in the plot is adjusted, and in 2019. On April 2nd, the small performance of Tzu Chi was performed. The A field of the control group was performed in the original script, and the B field of the experimental group was improved by the results of the feasibility test. The results showed that the measurement mode was easy to implement in two sessions. However, there is no significant difference in the response indicators. Due to the large number of audiences in the experimental session, it is difficult to change the bridge stage to affect the overall performance. Therefore, the degree of pleasure of the modified bridge section is further analyzed, and the real-time response of the audience in the mode-adjusted script is displayed. Meet the expected description.
The expected contribution of the measurement model is four. (1) Effectively quantify the record of the expected description and actual response, and provide a reference for the performance analysis of the performer; (2) Analysis of the response indicators proposes the overall performance data, from different perspectives (3) Combine the results of the traditional audience survey with the model to establish the basis for the performance improvement and learning of the performance group. (4) The survey tool is used to analyze the impromptu proportion and effect, so that the performer can adjust his performance in the future, and finally In the context of the difficulty of manpower funding, the small troupe will improve the quality of the performance of the single drama.

Chinese literature
文化部（2014）．「2014年表演藝術產業環境與趨勢研究」結案報告。
王友輝（1987）．臺北市兒童劇展十一年，文訊，115-124。
王明堂、郭辰嘉（2006）．設計研究方法．臺北市：全華圖書。
司徒芝萍（2008）．兒童戲劇好處一籮筐．美育雙月刊，165，16-19。
行政院經濟建設委員會（2012）．未來產業及人力結構調整之研究。
吳明德（2005）．台灣布袋戲表演藝術之美．學生書局。
林文寶（2004）．<臺灣兒童戲劇的劇本-上>．《中華民兒童文學學會會訊》，20（6），2-6。
林文寶（2005）．<臺灣兒童戲劇的劇本-下>．《中華民兒童文學學會會訊》，21（1），20-23。
林文寶、徐守濤、陳正治、蔡尚志（1996）．兒童文學．臺北市：五南圖書有限公司。
林志昌（2018）．析論布袋戲的發展現況與困境—以臺中市為例．通識教育與多元文化學報，7，42。
表演藝術聯盟．取自：http://www.paap.org.tw/pdf/file05.pdf.
林質安（2016）．宣傳為先?互動為主? 現代劇團經營 Facebook 粉絲專 頁之公關溝通策略分析（碩士論文）．臺北市：國立臺北藝術大學藝術行政與管理研究所。
高瞻自然科學教學資源平台．取自https://www.edntaiwan.com/news/article/20160 530TA01-GSR
陳正治、林文寶、徐守濤、蔡尚志（1996）．兒童文學．臺北市：五南圖書出版有限公司。
陳柏亨（2018）．劇場觀眾行為與劇本偏好要素研究－以布袋戲為例（碩士論文）．臺南市：國立成功大學工業設計研究所。
陳晰如（2010）．臺灣兒童戲劇的興起與發展史論－（1945~2007）（博士論）．臺東縣：國立臺東大學兒童文學研究所。
張寬逸（2017）．傳統技藝遇困境，誰「掌」握布袋戲未來？．取自：http:// www.unews.nccu.edu.tw/unews/傳統技藝遇困境%E3%80%80誰「掌」握布袋戲未來？%E3%80%80/.
張曉華（2009）．兒童劇場賞析教學的內涵．取自：http://art0913.pixnet.net/blog/post/24872954-兒童劇場賞析教學的內涵.
黃文進、許憲雄（1986）．《兒童戲劇編導略論》 ．臺北市：復文出版社。
楊翎（2003）．展示的建構與解構—從科博館文化特展觀眾調查談起．博物館學季刊，17（1），91。
黃菁霞（2015）．小型布袋戲團經營策略之研究－以來來布袋戲劇團、雲林五洲小桃源劇團為例（碩士論文）．嘉義縣：私立南華大學文化創意管理研究所。
葉嘉中（2015）．臺灣布袋戲的發展現況與未來展望．有鳳初鳴年刊，10，273-295。
劉建志（2018）．如何做「活戲」？．取自http://blog.press.ntu.edu.tw/?p=3981.
簡銘興（2013）兒童戲劇創作與欣賞。文化生活，74，6-9。
Bartlett, M. S., Littlewort, G. C., Sejnowski, T. J., & Movellan, J. R. (2003). A prototype for automatic recognition of spontaneous facial actions. In Advances in neural information processing systems (pp. 1295-1302).
Billington, M. (Ed.). (1980). The Performing Arts: A Guide to Practice and Appreciation. New York: Facts on File.
Bin, S. A., Morreale, F., Bryan-Kinns, N., & McPherson, A. P. (2017, September). In-the-moment and beyond: Combining post-hoc and real-time data for the study of audience perception of electronic music performance. In IFIP Conference on Human-Computer Interaction (pp. 263-281). Springer, Cham.
Buechel, S. & Hahn, U(2017).Emobank: Studying the Impact of Annotation Perspective and Representation Format on Dimensional Emotion Analysis. ResearchGate. Conference Paper.
Ekman, P., & Friesen, W. V. (1978). Manual for the facial action coding system. Consulting Psychologists Press.
Ekman, P.(1993). Facial expression and emotion. American psychologist, 48(4), 384.
Hirvela, D. P. (1990). The Performing Arts: An Audience's Perspective. Kendall/Hunt Publishing Company.
Latulipe, C., Carroll, E. A., & Lottridge, D. (2011, May). Love, hate, arousal and engagement: exploring audience responses to performing arts. In Proceedings of the SIGCHI Conference on Human Factors in Computing Systems (pp. 1845-1854). ACM.
Maccoby, E. E., & Maccoby, N. (1954). The interview: A tool of social science. Handbook of social psychology, 1, 449-487.
Mauss, I. B., Levenson, R. W., McCarter, L., Wilhelm, F. H., & Gross, J. J. (2005). The tie that binds? Coherence among emotion experience, behavior, and physiology. Emotion, 5(2), 175.
Mehrabian, A., & Russell, J. A.(1974). An approach to environmental psychology. the MIT Press.
Minichello, V., Aroni, R., Timewell, E., & Alexander, L. (1995). In-depth interviewing. Principles, Techniques, Analysis.
Mishler, E. G. (1986). The analysis of interview-narratives.
P.Mirza-Babaei,L.E.Nacke,J.Gregory,N.Collins, and G. Fitzpatrick（2013）. How does it play better? exploring user testing and biometric storyboards in games user research. Proceedings of CHI, 1499-1508.
Pine, B. J., & Gilmore, J. H. (1998). Welcome to the experience economy. Harvard business review, 76, 97-105.
Ranjan, A., Birnholtz, J., & Balakrishnan, R. (2008, April). Improving meeting capture by applying television production principles with audio and motion detection. In Proceedings of the SIGCHI Conference on Human Factors in Computing Systems(pp. 227-236). ACM.
Schmitt, B. H. (1999). Experiential marketing: How to get customers to sense, feel, think, act and relate to your company and brand. New York: Free Press.
Science Museum Group(2019).Hughie Greene’s Clap-o-meter(Audience Reaction Indicator). from: http://collection.sciencemuseum.org.uk/objects/co8225531/hughie-greenes-clap-o-meter-audience-reaction-indicator-audience-reaction-indicator.
Screven, C.(1993). A Science in the Making. Museum International, 178：6~12.
Stevens, C.,Glass, R., Schubert, E., Chen, Johnson. & Winskel, H.(2007). METHODS FOR MEASURING AUDIENCE REACTIONS. The inaugural International Conference on Music Communication Science, 5-7 December 2007
Wang, C., & Cesar, P. (2014, October). Do we react in the same manner?: comparing GSR patterns across scenarios. In Proceedings of the 8th Nordic Conference on Human-Computer Interaction: Fun, Fast, Foundational (pp. 501-510). ACM.