Musical Theater Audience Satisfaction : A Multilevel Analysis of Knowledge,Immersion, and Cultural Adaptation = 뮤지컬 관객 만족: 지식, 몰입, 문화적 적응의 다층적 분석

국문 초록 (Abstract)

중국에서 문화 소비가 급속히 증가하고 몰입형 엔터테인먼트가 발전함에 따라 뮤지컬 시장이 크게 확장되었습니다. 그러나 공연 수는 증가했음에도 관객의 만족도는 정체 상태를 유지하며 "공급 측 확대 대 경험 정체"라는 구조적 모순을 드러냈습니다. 본 연구는 중국 뮤지컬 시장이 규모 확대에서 품질 개선으로 전환하는 데 있어 직면하고 있는 핵심 문제를 다루며, 상황 간 메커니즘, 다층 심리적 경로 및 공연 생태적 차이를 통합하는 체계적인 프레임워크를 제안합니다.

연구는 S-O-R 이론을 기반으로 하여 뮤지컬 공연 경험을 외부 자극, 내부 반응 및 행동 결과로 분류하였습니다. 주요 심리적 변수로는 초월적 지식, 연극적 몰입 및 문화 적응이 포함됩니다. 배우 인식과 전문성은 관객 경험에 영향을 미치는 상황 변수로 파악됩니다. 이전 연구들은 선행 지식, 몰입 및 문화 적합성이 관객 만족도와의 관계를 설정하였으나, 본 연구는 개인의 심리적 구조와 상황적 변이를 수용하는 종합 모델을 개발하였습니다.

305개의 유효 샘플 데이터를 활용하여 본 연구는 다층 선형 모델을 채택하여 층 간 상호작용을 분석하였으며, 매개 경로에 대한 Amos 부트스트랩 및 다중 그룹 테스트를 포함하여 엄격한 방법론을 사용하였습니다. 연구 결과에 따르면, 선행 지식은 몰입을 통해 관객의 만족도를 직접적 및 간접적으로 증가시키며, 문화 적응이 만족도에 중요한 영향을 미치는 것으로 나타났습니다. 배우 인식과 전문성은 경험에 독특한 영향을 미치며, 뮤지컬 유형 간의 차이는 문화적 맥락 의존성을 반영합니다.

이 연구는 경험 경제와 문화 소비의 역학을 이해하는 데 도움이 되는 삼차원 인지-정서-문화 모델을 제안함으로써 문헌에 기여합니다. 또한 공연 제작자에게는 콘텐츠 품질과 문화 적응 전략을 통합하는 것의 중요성을 강조하며, 도시 문화 전략의 정책 수립에 기여합니다. 연구의 한계로는 중국의 도시 공연과 심리 메커니즘에 초점을 맞추고 있으며, 향후 연구는 문화 간 비교 및 디지털 매체 분야로 확장될 수 있는 방향을 제시합니다.

요약하자면, 본 연구는 뮤지컬에서 관객 만족도를 이해하는 데 기여하며, 공연 품질과 문화적 구조의 역할을 설명하고, 뮤지컬 산업의 성장에서 품질 향상으로의 전환을 개선하기 위한 분석 프레임워크를 제공합니다.

다국어 초록 (Multilingual Abstract)

With the rapid rise in cultural consumption and evolving immersive entertainment in China, the market for musicals has expanded significantly. Despite increased performances, audience satisfaction has stagnated, highlighting a structural contradiction of "supply-side expansion versus experience stagnation." This study addresses the transition from market scale expansion to quality improvement within the Chinese musical market, proposing a systematic framework that integrates cross-situational mechanisms, multilevel psychological pathways, and performance ecological differences. The research employs S-O-R theory, categorizing the musical performance experience into external stimulation, internal response, and behavioral outcomes. Key psychological variables include transcendental knowledge, theatrical performance immersion , and cultural adaptation. Actor recognition and professionalism are identified as situational variables impacting audience experiences. While previous studies established links between prior knowledge, immersion, and cultural fit with audience satisfaction, this research develops a comprehensive model that accounts for individual psychological structures and situational variations. Utilizing data from 305 valid samples, this study adopts a multilevel linear model to analyze cross-layer interactions, employing rigorous methodologies including Amos bootstrap for mediation paths and HLM for multi-group tests. Findings indicate that prior knowledge enriches audience satisfaction directly and indirectly through immersion, while cultural adaptation significantly affects satisfaction. Actor cognition and professionalism uniquely influence experiences, with variations across musical types reflecting cultural context dependencies. This research contributes to literature by proposing a three-dimensional cognitive-emotional-cultural model that aids in understanding the experience economy and cultural consumption dynamics. It emphasizes the importance of integrating cultural adaptation strategies with content quality for performance producers, while informing policy-making for urban cultural strategies. Limitations include a focus on China's urban performances and psychological mechanisms, suggesting future research directions in cross-cultural comparisons and digital mediums. In summary, this study enhances the understanding of audience satisfaction in musicals, illustrating the roles of performance quality and cultural structures, and offers an analytical framework for improving the musical industry's transition from growth to quality enhancement.

목차 (Table of Contents)

• Chapter 1 Introduction 1
• 1.1 Research Background and Problem Statement 1
• 1.2 Theoretical and Empirical Gaps 2
• 1.3 Purpose and Research Questions 4
• 1.4 Proposed Model and Hypotheses Overview 6
• Chapter 2 Theoretical Background and Hypotheses Development 9
• 2.1 Theoretical Framework 9
• 2.1.1 Main Theory 9
• 2.1.2 Supporting Theories 10
• 2.2 Review of Key Constructs 13
• 2.2.1 Prior Knowledge (PK) 13
• 2.2.2 Transportation(TPI) 14
• 2.2.3 Actor Expertise (EP) 15
• 2.2.4 Actor Awareness (AA) 16
• 2.2.5 Cultural Fit (CF) 17
• 2.2.6 Customer/Audience Satisfaction (CAS) 17
• 2.3 Integration of Constructs and Theories 20
• 2.3.1 Integration of Stimulus Variables: From Artistic Presentation to Cultural Cognition 20
• 2.3.2 Mediating Cognitive Mechanisms: The Synergistic Effects of PK and TPI 21
• 2.3.3 Integration of Behavioral Outcomes: Structural Mechanisms of Satisfaction Formation 21
• 2.3.4 Conceptual Model and Theoretical Contributions 22
• 2.4 Conceptual Model 22
• 2.5 Theoretical Development and Research Hypotheses 25
• 2.5.1 Prior Knowledge, Transportation, and Audience Satisfaction 25
• 2.5.2 Cultural Fit and Cultural Openness 28
• 2.5.3 Influences at the performance context Level 30
• 2.5.4 The Group-Level Effect of the Average TPI of Performing Units on Audience Satisfaction 37
• 2.5.5 Group Differences in the Structural Pathways 41
• 2.5.6 Moderating Effect of Actor Awareness 45
• Chapter 3 Research Design and Methodology 48
• 3.1 Questionnaire design and scale pre-test 48
• 3.2 Research data 52
• 3.2.1 Data collection 52
• 3.2.2 Data layering and cross layer modeling preparation 53
• 3.3 Descriptive statistics and correlation analysis 55
• 3.3.1 Descriptive statistics 55
• 3.3.2 Correlation analysis 57
• 3.4 Reliability and validity test of the scale 58
• 3.4.1 Reliability analysis 58
• 3.4.2 Exploratory and confirmatory factor analysis 59
• 3.5 Model fitting test 60
• Chapter 4 Results and Hypotheses Testing 63
• 4.1 Aggregation test (rwg/icc): process, threshold and results 63
• 4.1.1 Within group consistency RWG test 63
• 4.1.2 Intraclass correlation coefficient (ICC) test 63
• 4.1.3 Rationality test of aggregation and stratification 64
• 4.2 Cross layer modeling settings （MSEM/HLM） 64
• 4.2.1 Centralization strategy and random effect setting 64
• 4.2.2 Cross-Level Interaction Effect Analysis Framework 66
• 4.3 Model A: Hierarchical Paths and Mediation Effects (Amos Bootstrap) 67
• 4.3.1 Level-1（Individual Level） 67
• 4.3.2 Level-2（Performance Context Level） 69
• 4.4 Model B: Cross-Level and Moderation Effects (MSEM/HLM) 72
• 4.4.1 Individual-Level Moderation Effects 72
• 4.4.2 Cross-Level Moderation Effects 76
• 4.5 Group difference test of musical type (MT) 82
• 4.5.1 Multi-Group Testing Method 82
• 4.5.2 Steps of empirical analysis 82
• 4.5.3 Empirical Results and Discussion 83
• 4.6 Discussion and Limitations 84
• 4.6.1 Theoretical Implications of Cross-Level Mechanisms 84
• 4.6.2 Differences and improvement points between single-layer SEM and single-layer SEM 85
• 4.6.3 Data structure limitations and future research directions 85
• Chapter 5 Conclusions and Implications 85
• 5.1 Summary of Findings 86
• 5.2 Theoretical Contributions 88
• 5.3 Practical Implications 89
• 5.4 Limitations and Future Research Directions 91
• References 91
• Korean Abstract 103
• Appendices 104
• Appendix A: questionnaire original and Translation 104
• Appendix C: Aggregation index and statistical output table 106