台灣談話性節目快速增加且以多元形式出現，許多談話性節目研究皆以現場閱聽人參與討論及評分的談話性節目近年來蔚為風潮，節目製作者方面也宣稱這類節目基本上讓閱聽人掌握了節目走向的決定權，暗示著談話性節目走向擁抱一般閱聽人的趨勢。然而，這類現場閱聽人參與的節目日益增加，也獲得不錯的收視率，但是鮮少見得探討處於家戶環境中的家庭閱聽人(The home audience)如何解讀這類節目中現場閱聽人(The theatre audience)參與行為的相關研究。本研究以韓國綜藝類談話節目【強心臟】為研究個案，透過質性的田野深度訪談14位受訪者，瞭解家庭閱聽人對參與式綜藝類談話節目中的現場閱聽人行為表現的解讀，並運用心理學「移情」/「同理心」的概念進行接收分析，將收視【強心臟】的閱聽人類型歸納為「沉浸型家庭閱聽人」、「旁觀型家庭閱聽人」、「協商型家庭閱聽人」以及「批判型家庭閱聽人」四種家庭閱聽人。
透過四種家庭閱聽人的分析，本研究結果發現，綜藝型談話節目的現場閱聽人投票行為設置，被認為是突破傳統現場閱聽人在節目中的的角色，除了營造節目氣氛，更提升節目中主持人、來賓及現場閱聽人間的互動；對家庭閱聽人的詮釋和解讀中，現場閱聽人的存在拉近了家庭閱聽人與節目的距離，並且，藉由現場閱聽人的投票行為家庭閱聽人以想像及替代式參與的形式參與節目；研究也發現家庭閱聽人觀看節目時會將自身無法親身參與節目的遺憾移情到現場閱聽人身上，期望現場閱聽人能代替自己施以投票，同時藉由自己喜好的談話內容贏得談話時，透過替代替投票的想像獲得自我認同。
The number of talk shows in Taiwan which appear in multiple forms has had a rapid increase. In recent years, it is popular that several talk show research is based on the discussion and assessment of the talk shows by the theatre audience. The program producers also claim that the direction of this kind of show is basically determined by the theatre audience, meaning the tendency of talk shows embracing the preference of the general audience. The participation of the theatre audience has been increasing with good ratings; however, research in regard to the interpretation of the home audience towards the theatre audience’s participation behavior in this kind of show. This study focuses on the research case of “Strong Heart”, a Korean talk show. Through qualitative in-depth interview towards fourteen interviewees, the interpretation of the home audience towards the theatre audience’s behavior in the talk shows would be understood. The psychological concepts of “transference” and “empathy” are being used in the analysis. The audience of “Strong heart” are divided into “immersion home audience”, “bystander home audience”, “negotiated home audience” and “critical home audience.”
Through the analysis of the four types of home audience, it is discovered in this study that the setting of roles of the theatre audience in the talk shows is considered as a breakthrough of traditions in the shows. Not only do they maintain the program atmosphere, but also enhance the interaction between the hosts, the guests and the theatre audience. In terms of the interpretation and annotation of the home audience, the existence of the theatre audience would shorten the distance between the home audience and the program. Also, through the voting behaviors of the theatre audience, the home audience would use imagination to replace the voting behavior within the program. This study also notices that when watching the program, the home audience would transfer the regret of not being able to attend the program personally into the theatre audience expecting them to replace themselves for voting. At the same time, when content of their preference wins, the imagination of replacing the voting behavior would generate a sense of self-recognition.
