本文企圖以派遣勞動關係爲基礎，探討經紀人（公司）、 藝人與製作單位三者間從屬關係及運作模式，並透過三方勞雇 關係，呈現出三者互動情形。本研究歸納出個人、家族及事業 共生等三種經紀類型，其中以「家族型J佔大多數。國内藝人 與經紀人契约的訂定方式是採「視個案而定」的彈性制，相關 令约内容沒有一定的法制標準。且研究發現，藝人勞動價値， 依附於市場反應，「機會」和「人情網絡J是藝人獲得成功的 「充分J條件。暢行於演藝圈知遇之恩的關係常規，一方面發揮 「人情債J的生產意識，使藝人對於不當剥削，以得過且過或是 視而不見的方式解決，另方面它也強化經紀人（公司）、製作單 位生產權力關係，使生產方式所需的組織效率得以維持。

This article, based upon the labor dispatch relationship, attempts to discuss the trial subordinate relationship among performing artists, their agents and production unit, and the working model. According to the research findings, the value of performing artists depends on the market reaction. “Opportunity” and “favor” are the “essential” criteria for performing artists to win success. The concepts of gratitude, popularity, and common in the industry, are the utter expressions of the Chinese way for repaying to those who gave favors to them. This kind of relationship somehow results in the following phenomenon: first, the ideology of '*favor debt** which makes the performing artists perfunctory or negligent to exploitation by their agents. In another way, it also reinforces the powers held by the agents and the production unit to maintain the organizational efficiency that is necessary for production.