累積資源以建立企業優勢，在現實是不可高攀的期望。當代企業其實只能追求短暫優勢，更多中小企業則是常常身處劣勢，只求謀生之道。當企業資源有限，又受到層層制約，是否還能找到脫困之道？隨創(bricolage)文獻指出，弱勢者如果學會拼湊身旁的資源，仍有可能於制約中解套。不過，隨創理論卻尚未考量，來自環境的制約會讓弱勢者缺資源而不知所措，或有資源拼湊不得。資源少已經不甚幸運，再套上各種制約，對弱勢者更是不幸。所以，分析資源拼湊方式如何解套制約成為當前重要議題。本研究調查一家電視台的戲劇部門如何以有限資源回應制約。理論上，相對於目前文獻提倡的資源拼湊或是資源建構論點，本文則提出另一種「資源轉化」觀點以豐富隨創理論的內涵。「資源轉化」包括識別時機、資源衝突性的權衡組合、資源價值的連動轉變。實務上，本研究提出資源轉化的原則，藉由主動化解制約成為制高點，弱勢者將可找出化阻力為助力的方法。當制約被重新定義時，創意將悄悄浮現，資源的價值可以因而牽動轉變，拼湊資源變得有意義，解套的可能性也呼之欲出。

Accumulating resources as a way to establish competitive advantage is in reality an unachievable expectation. In fact, modern enterprises could only strive for transient advantage; and more firms often would find themselves in adversity and merely struggle for survival. When firms have limited resources and restricted by various constraints, could they still find ways to turnaround the situations? The literature of bricolage suggests that, if low-power actors learn to making-do with resources surrounding them, it is possible to identify solutions to extricate themselves from the constraints. However, the theories of bricolage have yet to consider that constraints from the business environment will disable low-power actors, as resources are frugal, or hamper them from making-do with limited resources. It is unlucky enough to behold parsimonious resources; it is even more a misfortune when low-power actors are entrapped by constraints. Therefore, an immediate inquiry is concerned with in what ways making-do with tight resources could lead to disentangling of constraints. This research investigates how a Drama Production Department of a television company responded to various constraints with inadequate resources. Theoretically, in relation to current theses on resource making-do and resource construction, this paper indicates an alternative ‘resource conversion’ perspective to enrich the repertoire of bricolage theory. Conversion is interpreted as identifying opportunities, balancing conflicts in using resources, and embarking on a series of value transformation via resources. In practice, this research proposes principles for resource conversion; by converting constraints into commanding heights, low-power actors could identify how to turn a stumbling-block into a stepping-stone. When resources are in shortage, it is unwise to fight against adversity hastily; rather, low-power actors should observe timing for constraint translation. When constraints are redefined, creative ideas emerge; value of resources could be transformed in series, making-do with resources become meaningful; and resolutions would seem ready to come out at one’s call.

企業身處制約時，如何以有限資源來解套，是劣勢創新的重要議題。「隨創」強調以資源拼湊與資源建構等作法，去回應劣勢。可是，隨創文獻卻尚未有機會解釋資源拼湊或建構是如何找到時機的，拼湊前又是如何轉換資源的價值。本研究以三立電視台戲劇部門為案例，探討三立如何在面對一線藝人短缺、編劇人才荒、與收視率稀釋的劣勢時，卻能發展出藝人部頭約、集體編劇共創、家族頻道及三播模式等創新作法，逐步建立偶像劇量產模式。 本文指出，隨創過程中，資源拼湊或建構必須搭配時機辨識與資源轉換的作法，才能找出化阻力為助力的策略。本案例解釋時機的相對性、資源的衝突性以及價值的連動性這三個面向的議題；同時點出了時間脈絡、人際脈絡及歷程脈絡對於資源拼湊的重要性。將「制約」視為識別創新的時機；調和資源的衝突特質，以進行重組；進行一系列，而非一次性的價值轉化；是本文對隨創理論提出的新觀點，也是補強創業、組織變革文獻著重策略、結構、流程，而忽視微觀資源轉化的新嘗試。 就管理實務上而言，變動的環境經常讓企業原有的優勢瞬間轉為劣勢；各種有形與無形的制約，更是企業成長過程中的必經路障。隨創是企業回應制約的重要策略作為。面對制約時，企業可敏銳地辨識機會，重新定義制約，弱勢者才能讓制約成為創新的來源，化危機為轉機。由於視角的轉變，看似無用的資源可以被轉化，轉換其價值，再進行巧思的拼湊，形成創新方案。隨機應變，反而能讓企業能重思資源的應用方式，由制約中解套。 最後，本文也提醒，企業必須留意隨創可能帶來的隱性危機。資源拼湊作法雖可變成組織制度，但卻也可能種下不利後果，讓企業忽略長期成長的基礎工作。逆勢察機以善用資源之際，企業需由近看遠，蓄積長期資源。本文探討的雖是影視產業與娛樂業，但這些作法亦是所有面對劣勢的企業不可忽視的創新原則。

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