本研究以2019臺北藝穗節為例，透過半結構式質性訪談，分析表演團體使用私人營利場所作為表演空間時，業者和表演團體的合作機制、雙方對營利的概念差異和彼此的營運效益為何。結果顯示「非典型劇場」的劇場意識與表演活動，對營利場所並無特殊意義，且無長遠的經濟效益，團體也大多已經無傳統劇場意識，雙方往往只是空間的提供及使用者關係。分析發現，臺灣的表藝團體與節慶，因劇場菁英思維恐懼與商業掛勾，導致市場生態惡性循環。藝穗節刻意將場所營造為非典型劇場，反而極易形成一次性表演與團體的產生，逐漸背離藝穗節「自由、不刻意」的原始意義。透過結論與業界專家訪談，建議藝穗節應要善用官方資源及拓展行銷相關知能，鼓勵團體結合場地特色進行創作，令營利場所及表演團體能有最大程度的互利，同時也應更大程度的接受商業元素，廣納一般性觀眾，令臺灣有機會能發展成真正產業的規模。

This study investigates the operational benefits to private enterprise when companies or creators performed in their place of business, the differences between owners and companies in the concept of profit, and the system or process of their cooperation. The research was based on the 2019 Taipei Fringe Festival as a case study, constructing semi-structured interview and using method of qualitative research. The study found that performance in atypical theatre did not provide long-term benefit or special meaning to the enterprise, owners and creators are merely provider and user of the space, most of them did not take it as a theatre. The analysis showed that a vicious cycle was created in the ecosystem of art. Elitism of theatre arts stops creators and art events to relate to business in any aspect. The Fringe deliberately build the venues into atypical theatre, little did they realise how this act influent the development of one-off company and performance. This pattern and way of running the Fringe gradually violating their aim “Free and Unintentional”. We interviewed a few professions in the industry to make suggestions on this situation. In conclusion, it is suggested that the Fringe better utilise the official resources provided by the government and promote the importance and methods of marketing strategies. Also, the Fringe should encourage cooperation between companies and venues so that they are capable to take advantage of each other to the largest extent. As for the art sector, creators should increase their acceptability of possible commercial elements added or merged into the performance, try including the general public as their audience, in order to develop a real art industry in Taiwan.