Performing Arts Satisfaction, Its Antecedents and Effects on Performing Arts Advocacy and Life Satisfaction: A Study on Asian Performing Arts Attendees

이준경,김정구 Academy of Asian Business (AAB) 2023 Academy of Asian Business Review Vol.9 No.1

Performing arts satisfaction plays a crucial role in influencing advocacy and life satisfaction among individuals. This study examines the influence of artistic products, theater facilities, and social enjoyment on performing arts satisfaction and the relationship between performing arts satisfaction, performing arts advocacy, and life satisfaction among Asian performing arts attendees. The findings reveal that performing arts satisfaction is significantly influenced by artistic product and social enjoyment, and it, in turn, significantly impacts performing arts advocacy and life satisfaction. Consistent with previous research, artistic product is the most influential factor in shaping performing arts satisfaction. Specifically, aspects such as music, actor performance, and storyline demonstrate high average ratings, underscoring their importance. Additionally, the study uncovers an interesting gender difference in the significance of social enjoyment, with men attending performances for romantic dates and women attending with friends. However, theater facility enjoyment does not exhibit a significant effect, supporting previous research emphasizing the relative insignificance of facility factors compared to performance factors. Furthermore, this study reveals that performing arts satisfaction positively influences both performing arts advocacy and life satisfaction, highlighting the broader significance of performing arts as an experience that enhances individuals' overall satisfaction and happiness beyond monetary gains. In conclusion, the study emphasizes the importance of performing arts satisfaction in influencing performing arts advocacy and individuals' life satisfaction. It highlights the significance of artistic product and social factors, with recommendations for performing arts organizations to prioritize audience satisfaction, strives for artistic excellence, and foster social engagement among attendees. These findings provide valuable insights for enhancing audience satisfaction, fostering long-term advocacy, and promoting the transformative power of performing arts.

공연예술 영상기록의 현황과 과제 -국립극장 공연예술박물관을 중심으로-

김도연 한국외국어대학교 정보·기록학연구소 2019 기록과 정보·문화 연구 Vol.- No.9

Performing arts has different characteristics compared with other kinds of art such as fine art, architecture, and sculpture. One of the distinct features is intangibility. There is no tangible results of creations. Moreover the original forms of performing arts disappear as the art works are shown on the stage. The arts exists only on the moment when it is being performed. Therefore, the certain time and place are specially related with the performance. The final characteristic of performing arts is that all different kinds of art are collaborated for the one art work. This is the reason why performing arts is often called the arts. These features make recording and documentation challenging as it is not actually possible to record and restore the original form. This cause different voices of proper methodology in recording performing arts. Video recording is preferentially used for preserving performing arts with intangibility and momentariness. It is hard to find the opposites of the fact that video is one of the best recording media in order to recall the image and memory of performing arts until today. This study explores the types and use of video recording focused on the museum of performing arts in National theatre of Korea. For the development of documentation and use of performing arts, first, the issues of copyrights and the related laws should be solved. Moreover, archives need to prepare the speedily changed technology in recording media such as dual servers for permanent preservation of records. Finally it is required to widely study on the documentation of performing arts and use and services of its video records. 공연예술은 문학, 미술 등과 다른 고유한 특징을 가진다. 그 특징은 세 가지로 대표되는데, 첫 번째는 바로 무형의 예술이라는 점이다. 예술 작품이 글이나 그림, 조각 등의 유형으로 남지 않는다. 현장에서 예술 작품이 실연되는 순간, 시간이 흐름에 따라 사라지기 때문에 일회성을 가진다고도 할 수 있다. 공연예술이 이루어지는 그 순간에만 오로지 작품 원형이 존재하기 때문에 제한된 시간, 특정 공간과는 밀접한 관계를 맺는다. 마지막으로 공연예술은 음악, 무용, 미술, 연극 등 다양한 예술적 요소가 집합적으로 어우러져 하나의 작품이 되는 종합예술의 성격을 갖는다. 이와 같은 특징들 때문에 공연예술의 기록은 매우 까다롭고 복잡하다. 작품 원형의 온전한 보존은 사실상 불가능하기 때문에 원형에 가깝게 최선의 공연예술 기록 방법론을 고안하고 선택해 적용할 수밖에 없다. 현재까지는 영상촬영이 가장 효과적이고 최선의 공연예술 기록방법에 대한 반론의 여지는 찾아보기 힘들고, 실제로도 가장 우선적으로 생산되고 있는 기록 형태이다. 영상은 작품 실연의 순간과 잔상을 이미지와 음향을 통해 보존할 수 있다. 본 연구는 공연예술 영상기록의 형태와 활용 사례, 그리고 현안에 대해 국립극장 공연예술박물관을 중심으로 살펴보고, 영상 기록 활용의 활성화 방안을 제안하였다. 공연예술 영상기록의 가치 확장을 위해서는 작품 저작권의 확보와 구체적인 법안이 제정되어야 하고, 빠르게 진화하는 디지털 기술과 변화하는 환경에 대해 대비하며, 기록과 활용에 대한 심도 있는 연구가 우선되어야 할 것이다.

전시와 연계한 어린이 공연예술 프로그램 사례연구 -서울소재 국립기관 세 개의 사례를 중심으로-

한빛 한국박물관학회 2020 博物館學報 Vol.- No.38

Museums serve as a sociocultural space and educational institution to the public with the functions of collecting, researching, preservation and displaying. These roles of museums have become more important in the field of performing arts. It is more effective for the public to appreciate performing arts through tangible records and exhibitions as performing arts is momentary and intangible. Although performing arts sector accounts for 30% of the nation's intangible cultural assets in Korea, it is hard to find the exhibition halls which hold collections related to performing arts. Accordingly, the state and local governments are doing best themselves to establish museums specializing in performing arts. Moreover, current museums also have more exhibitions regarding performing arts sector. The performing arts exhibitions require a detailed exhibition scenario and various exhibition techniques to display intangible themes. The visible exhibitions of performing arts can supplement the limitations of the unique characteristics, and the linked programs can help the public to understand easily and enjoy exhibitions. In response, this study identifies the characteristics of the performing arts exhibitions through three cases of the Seoul-based national museum centers and concentrates on the analysis of the use cases of the children's linked programs. This analysis is crucial to analyze the characteristics and components of performing arts exhibitions and the linked programs. Therefore, this case study will explore effective ways to hold exhibitions and education programs of performing arts. 박물관은 수집, 연구, 보존, 전시의 기능을 통해 대중에게 사회, 문화적 공간이자 교육기관의 역할을 한다. 이러한 박물관의 역할은 공연예술 분야에서 더욱 중요해졌다. 공연예술은 공연과 동시에 사라져 버리는 ‘시간적․무형적’ 특성으로 인해 기록, 보존, 전시 등의 기능을 활용하여 대중들에게 공연문화를 향유할 수 있다. 우리나라의 공연예술분야는 국가무형문화재의 30%를 차지할 정도로 비중 있지만, 그 수에 비해 전시관의 수가 상대적으로 적은 편에 속한다. 이에 국가와 지자체에서는 공연예술 전문박물관을 설립하고 있으며, 기존 박물관에서도 공연예술분야의 전시 비중을 늘리고 있다. 공연예술전시는 무형의 주제를 전시하기 위해 면밀한 전시시나리오와 다양한 전시기법이 요구된다. 또한 공연예술전시는 연계프로그램을 활용하여 무형의 한계를 보완하고 전시의 이해를 높일 수 있다. 이에 본고는 서울 소재 국립기관 세 개의 사례를 통해 공연예술전시 특성을 파악하고 이와 연계한 어린이 공연예술 프로그램 활용사례 분석에 중점을 두었다. 이 사례분석은 공연예술전시 및 연계프로그램의 특징과 구성요소를 분석했다는 점에서 의의가 있다. 따라서 이 사례연구를 통해 공연예술전시와 교육의 방안을 모색하는데 계기가 될 것이다.

포스트 코로나 시대 공연예술의 온라인 전략에 관한 실증적 연구

이지현(Jihyun Lee) 慶熙大學校 大學院 2021 高凰論集 Vol.69 No.-

In the field of performing arts, online performing arts were already evolving even before the outbreak of Covid-19. Due to Corona 19, the speed is accelerating, and the definition of face-to-face and non-face performances is newly established, and online performing arts are being established in the field of performing arts. Therefore, this researcher seeks to analyze the flow of online performing arts before and after Covid19 using the big data analysis system TEXTOM_v5.0 and UCINET 6.0 and find the practical direction of performing arts that our society should pursue in the future. Based on the basic concept of performing arts based on the examination of prior research, we wanted to examine the direction of future performing arts by analyzing the trends of online performing arts in the Post-Covid 19 Era and presenting examples of each organization. Although it is an on-site performance and a one-off performance, due to the nature of performing arts with high barriers to entry, online performing arts cannot replace its meaning. Nevertheless, attempts to convert performing arts online have been accelerated and inevitable by Covid 19. Since there has been insufficient research on such social changes so far, this study aimed to analyze the social semanticization process of the onlineization of performing arts by randomly assigning the word “online performing arts”. To this end, the researcher considered prior research to objectify the justification through analysis of performing arts, online performing arts, post-corona performing arts, metaverse, and Big data. Based on prior research, the research was aimed at establishing practical basic data that could be reflected in the online performing arts scene of the post-corona era by analyzing articles that could understand the trend of the times and representative examples of national, public, and private arts organizations in 2020. Accordingly, the network analysis using TEXTOM_v5.0 version and UCINET 6.0, the big data research and analysis systems that began to be used for domestic research, was objectified. In addition, Korea's leading performing arts organizations, such as the National Opera, the National Choir, the Seoul Philharmonic Orchestra, and the National Theater, were selected to reflect the trend of the times and present directions and possibilities for future development and effectiveness of online performing arts. In addition, it was confirmed that online performing arts were not a temporary phenomenon, but an alternative or complementary way of performing arts that should be combined in the future. The reference to online performing arts was more than twice the comparison period from November 2014 to February 2015 and 1.5 times higher than the research and analysis period from November 2020 to February 2021. To this end, we can recognize the expanded situation to the Internet, mobile, IPTV, etc., develop platforms for each institution, utilize VR and AR technology, utilize virtual reality systems and Internet of Things systems, and try short-shot web performance. In addition, it could be seen that the method of metaverse is considered a very important platform. Furthermore, we believe that attempts to introduce new methods such as paid streaming are continuously needed in previous free streaming methods. The role of marketing and platform with expertise is also very important. Objectification as data is necessary to objectify perceptions of social change, and the use of programs to do so is essential. Big data enables this objectification and allows us to assess the success of a company through big data analysis. However research using big data is still insufficient in South Korea.

전통예술 공연 시장 확대를 위한 관객 유형화와 관객 유형 변화 요인에 관한 연구

임승희(Im, Seunghee) 한국문화산업학회 2014 문화산업연구 Vol.14 No.4

본 연구는 전통예술 시장 확대를 위해 전통예술 시장에 주목하여 전통예술 공연 관객층을 유형화하여 관객 유형별 차이를 규명하는 것을 주요 목적으로 설정하였다. 또한 관객 유형을 전통예술 공연에 대해 소극적 관객층을 보다 적극적인 관객층으로 변화시키는 요인을 밝힘으로써, 전통예술 공연 관객층을 확대하고 나아가 전통예술 공연 시장을 활성화할 수 있는 전략적 시사점을 도출하고자 하였다. 연구 결과, 관객의 행동 특성인 관람빈도와 심리적 특성인 관심도에 따라 전통예술 공연에 대한 저빈도 관람-저관심형, 고빈도 관람-고관심형, 고빈도 관람-저관심형, 저빈도 관람-고관심형으로 관객을 유형화하였다. 또한 구분된 관객 유형에 따라 인구통계적 특성과 공연 구매행동의 특성을 비교분석 하였다. 또한, 정규교육 이외 전통문화예술교육 경험과 관련한 동호회 참여 경험이 관람빈도 및 관심도에 미치는 영향을 분석한 결과, 문화예술교육과 전통문화예술 관련 동호회 참여 경험은 저빈도 관람 관객을 고빈도 관람 관객으로 전환시키는데 유의미한 영향을 미치는 것으로 나타났다. 마찬가지로 전통문화예술교육과 관련 동호회 참여 경험은 전통예술에 대해 관심도가 낮은 관객층을 관심도가 높은 관객층으로 전환시키는데 유의한 영향을 미치는 것으로 나타났다. 그러나 전통예술 공연에 대한 관심 및 관람 빈도에 전통문화예술교육보다는 관련 동호회 참여 경험이 미치는 상대적 영향력이 더 큰 것으로 나타났으며, 이들의 영향력은 전통예술 공연 관심보다 관람 빈도 변화에 더 큰 것으로 검증되었다. 한편, 전통예술 관람 행동과 관심도간의 상호영향력을 검증한 결과, 전통문화예술에 대한 관심 증가는 전통문화공연의 저빈도 관람 관객을 고빈도 관람 관객으로 유형 변화 시키는데 유의한 영향요인으로 나타났다. 또한 전통문화예술의 관람빈도 증가는 전통문화예술에 대한 저관심 관객을 고관심 관객으로 전환시키는 유의한 영향을 미치는 것으로 분석되어, 전통문화예술에 대한 관심이라는 심리적 요인과 관람 빈도라는 행동적 요인은 상호 영향을 미치는 요인임을 확인하였다. In recent times, with the advent of the importance on cultural prosperity, there has been a considerable number of an increase of both theoretical and public attempts to extend performing art market. In particular, understanding of audiences in performing art market has been an important issues to establish effective strategy and policy. However, until now, there has been a few attempts to examine audiences within the context of the traditional performing arts. Therefore, the purpose of this research is to classify the typology of the audiences based on the behavior and psychological variables in the traditional performing arts market. Also, this study identifies the differences among audiences’ typology and factors affecting the change of their typology. Results showthat audiences in traditional performing arts market can be classified into four groups according to the number of viewing and the interest on traditional arts: low frequency-low interests, high frequency-low interests, low frequency-high interests, and high frequency-high interests. Also, this study examines that demographic characteristics and performing arts viewing behavior are different among audiences’ cluster. In addition, this study identifies that the experiences of traditional culture educations and cultural club participation are significant factors for changing the audiences’ typology using logit analysis. 본 연구는 전통예술 시장 확대를 위해 전통예술 시장에 주목하여 전통예술 공연 관객층을 유형화하여 관객 유형별 차이를 규명하는 것을 주요 목적으로 설정하였다. 또한 관객 유형을 전통예술 공연에 대해 소극적 관객층을 보다 적극적인 관객층으로 변화시키는 요인을 밝힘으로써, 전통예술 공연 관객층을 확대하고 나아가 전통예술 공연 시장을 활성화할 수 있는 전략적 시사점을 도출하고자 하였다. 연구 결과, 관객의 행동 특성인 관람빈도와 심리적 특성인 관심도에 따라 전통예술 공연에 대한 저빈도 관람-저관심형, 고빈도 관람-고관심형, 고빈도 관람-저관심형, 저빈도 관람-고관심형으로 관객을 유형화하였다. 또한 구분된 관객 유형에 따라 인구통계적 특성과 공연 구매행동의 특성을 비교분석 하였다. 또한, 정규교육 이외 전통문화예술교육 경험과 관련한 동호회 참여 경험이 관람빈도 및 관심도에 미치는 영향을 분석한 결과, 문화예술교육과 전통문화예술 관련 동호회 참여 경험은 저빈도 관람 관객을 고빈도 관람 관객으로 전환시키는데 유의미한 영향을 미치는 것으로 나타났다. 마찬가지로 전통문화예술교육과 관련 동호회 참여 경험은 전통예술에 대해 관심도가 낮은 관객층을 관심도가 높은 관객층으로 전환시키는데 유의한 영향을 미치는 것으로 나타났다. 그러나 전통예술 공연에 대한 관심 및 관람 빈도에 전통문화예술교육보다는 관련 동호회 참여 경험이 미치는 상대적 영향력이 더 큰 것으로 나타났으며, 이들의 영향력은 전통예술 공연 관심보다 관람 빈도 변화에 더 큰 것으로 검증되었다. 한편, 전통예술 관람 행동과 관심도간의 상호영향력을 검증한 결과, 전통문화예술에 대한 관심 증가는 전통문화공연의 저빈도 관람 관객을 고빈도 관람 관객으로 유형 변화 시키는데 유의한 영향요인으로 나타났다. 또한 전통문화예술의 관람빈도 증가는 전통문화예술에 대한 저관심 관객을 고관심 관객으로 전환시키는 유의한 영향을 미치는 것으로 분석되어, 전통문화예술에 대한 관심이라는 심리적 요인과 관람 빈도라는 행동적 요인은 상호 영향을 미치는 요인임을 확인하였다. In recent times, with the advent of the importance on cultural prosperity, there has been a considerable number of an increase of both theoretical and public attempts to extend performing art market. In particular, understanding of audiences in performing art market has been an important issues to establish effective strategy and policy. However, until now, there has been a few attempts to examine audiences within the context of the traditional performing arts. Therefore, the purpose of this research is to classify the typology of the audiences based on the behavior and psychological variables in the traditional performing arts market. Also, this study identifies the differences among audiences’ typology and factors affecting the change of their typology. Results showthat audiences in traditional performing arts market can be classified into four groups according to the number of viewing and the interest on traditional arts: low frequency-low interests, high frequency-low interests, low frequency-high interests, and high frequency-high interests. Also, this study examines that demographic characteristics and performing arts viewing behavior are different among audiences’ cluster. In addition, this study identifies that the experiences of traditional culture educations and cultural club participation are significant factors for changing the audiences’ typology using logit analysis.

공연예술소비에 영향을 미치는 요인에 대한 탐색적 연구 : 공연예술교육경험을 중심으로

남정미,유소이 한국소비자정책교육학회 2015 소비자정책교육연구 Vol.11 No.1

다른 상품과 달리 공연예술상품이 가지는 고유한 특성은 소비자의 인구통계적 특성과 더불어 교육을 통해 형성 되는 소비자의 문화자본이 중요한 역할을 한다. 이에 본 연구는 소비자의 인구통계적 특성에 따라 공연예술상품 의 소비현황(관람빈도, 관람다양성)을 파악하고, 공연예술의 교육경험에 따라 관람행동(관람다양성, 정보획득, 상 품속성, 기대혜택)의 차이를 탐색적으로 파악하고자 하였다. 더 나아가서 공연예술상품의 소비에 유의하게 영향 을 미치는 요인들을 분석하였다. 연구결과 1년간 전문예술을 포함하는 전체 공연예술의 관람빈도는 평균 1.23회 로 나타났으며, 대중적인 공연예술만을 관람한 응답자 비율은 높게 나타난 반면, 전문예술만을 관람한 응답자는 상당히 낮게 나타났다. 공연예술 관련 교육경험은 전체시기에 교육경험이 있는 응답자가 상대적으로 높게 나타났 으나, 교육경험이 없는 응답자도 상당히 높게 나타났다. 인구통계적 특성에 따른 공연예술상품의 소비현황은 공 연예술 관람 시 동행인의 유형에 따라 관람빈도와 관람다양성이, 직업에 따라 관람다양성이 유의한 차이를 보이 는 것으로 나타났다. 실제 관람빈도에 있어서는 인지도나 공연시설과 더불어 공연예술 관련 소비자교육이나 정보 획득 및 동행인 유형이 유의한 영향 요인으로 나타났다. 즉, 공연예술상품의 관람 시 혼자보다 친구나 애인 또는 가족을 동반하는 경우나, 공연예술 관련 교육을 전 생애에 걸쳐 받았거나, 공연예술과 관련된 정보나 지식을 얻 기 위해 웹싸이트 방문을 많이 할수록 관람빈도는 증가하는 것으로 나타났다. 또한 공연예술상품의 속성 중 인지 도를 선택에 중요한 요인으로 지각할수록 관람빈도는 증가하는 반면, 공연시설이 선택에 중요한 요인이라고 지각 할수록 관람빈도는 감소하는 것으로 나타났다. Because of the unique characteristics of performing arts, cultural capital established from consumer education has been concerned with understanding consumer behavior of performing arts by researchers. Therefore, this study explored the impacts of demographic characteristics and the education experience in arts on the consumers' behaviors including frequency and diversity of seeing performing arts, acquisition of information, attributes, and expected benefits. According to the results, first, consumers were found to see 1.23 times of performing arts per year on average. The percentage of consumers seeing general performing arts was found to be much higher than that of seeing classical performing arts. Although consumers with the education experience in arts both before and after age of 18 made more visits, those without education experience in arts also made some visits. Second, seeing general performing arts were found to be significantly different with demographic characteristics such as accompanying friends or family members and job. Third, the frequency of seeing performing arts was found to be significantly influenced by some factors such as awareness, facilities, consumer eduction for performing arts, information from websites and accompanying friends or family members. The frequency of seeing performing arts was increased, if consumers were accompanied by friends or family, had experience in arts education before and after age of 18, and visited websites frequently to find information. While the frequency of seeing performing arts was increased when the consumers perceived the popularity as an important attribute, the frequency of seeing performing arts was decreased when they perceived the facilities as an important attribute.

민간공연예술단체 공공지원정책의 현황과 개선과제

양효석(Yang Hyo Seok) 한국예술경영학회 2010 예술경영연구 Vol.17 No.-

우리나라에서 공연예술 분야의 공공지원은 작품 창작과 발표에 대한 재정적 지원방식이 대부분이었고 예술단체를 발전시키기 위한 정책적 의지는 별로 드러나지 않고 있다 이러한 작품 중심의 지원정책은 공연예술 작품 제작의 양적 증가에 기여했으나, 발표시기 집중화에 따른 공연장의 부족, 지원에만 전적으로 의존하는 작품 양산 등의 부작용을 가져왔다. 또한 작품 제작비의 일부만을 지원함으로써 지원 받은 작품을 무리하게 제작하는 과정에서 공연예술단체의 경영이 더 악화되는 경우가 발생하는 등 폐단이 발생하기도 했다. 이에 따라 일회적 작품 중심의 지원제도를 개선하고 보다 장기적 안목에서 공연예술단체의 역량을 강화할 필요성이 제기되었으며 2006년부터 다년간 공연예술단체를 집중 육성하기 위한 프로그램으로 〈공연예술전문단체육성사업〉이 새롭게 추진되었다. 이 지원프로그램은 일부나마 공연예술 지원정책의 틀이 ‘단일 작품 중심의 단년제 지원’ 방식에서 ‘단체역량 중심의 다년제 지원’방식으로 전환된 최초의 사례라 할 수 있다. 〈공연예술전문단체육성사업〉은 2008년 6월 정부가 새로운 지원원칙을 발표하면서 〈공연장상주단체육성지원사업〉으로 확대 전환된다. 민간 공연예술단체와 관련된 공공지원정책은 현재 〈공연장상주단체육성지원사업〉을 중심으로 예술전문법인단체 지정제도, 우수 공연예술단체의 해외 교류프로그램 지원, 예술단체의 경영 여건 개선을 위한 사회적기업 전환 유도, 예술단체 경영컨설팅 지원 등 다양한 방법으로 시도되고 있다. 이처럼 최근 몇 년 사이에 공연예술에 대한 공공 지원정책이 일회적인 작품 중심의 지원에서 벗어나 다년간 집중지원이 늘어나고, 공연장과 연계된 간접지원방식이 강화되는 등 지원정책의 변화가 이루어지고 있고 재정적 지원 외에 경영 컨설팅, 법제도의 개선 등 창작기반을 다지는 정책이 강화되고 있는 것은 매우 바람직한 방향으로 생각된다. 그러나 현재의 공연예술단체에 대한 지원정책은 여러 가지 개선과제도 안고 있다. 이 논문은 공연예술 지원정책의 변화과정에서 민간 공연예술단체에 대한 지원정책의 현황과 문제점을 검토하고 민간 공연예술단체의 발전을 위한 바람직한 정책 방향에 대해 고찰하고자 한다. 우리나라의 공연예술단체의 취약한 구조를 개선하고 나아가 예술단체가 세계적 수준의 창조적 역량을 발휘할 수 있도록 하기 위해 중점적으로 개선해야할 과제에 대해 살펴보았다. In Korea, public funding policy for the performing arts has focused on work production or work presentation through financial funding system. It is hard to find public grant programs which pursue to promote performing arts organizations. The existing funding system, focusing on a work of art, contributed greatly to the quantitative growth of the performing arts production. However, this system has caused side effects as well, such as a shortage of performing arts venues to present art works and the production of work which is heavy reliance on the public funding. After receiving public grants, some organizations are endangered financially as producing the works by force because most public grants only support a partial portion of the production budget. Therefore, it has been claimed that the one-off funding system around the work-production needs to be transformed and an organizational capacity of performing arts group should be reinforced with a long-term view. In 2006, a new grant program 〈Performing Arts Professional Organization Promotion Project〉 was established to nurture performing arts organizations through a multiple-year support. This is the first case that public funding system was transferred from ‘a single year supporting system based on a single work of art’ to ‘a multiple-year supporting system based on the arts organization’. As Korean government announced a new cultural funding principle in June 2008, 〈Performing Arts Professional Organization Promotion Project〉 was changed and expanded to the 〈Performing Arts Theater-Residency Arts Organization Promotion Project〉. Currently, public funding for the private performing arts organization is accomplished around 〈Performing Arts Theater-Residency Arts Organization Promotion Project〉 with diverse methods such as ‘Appointed Arts Professional Corporate Organization Program’, supporting outstanding organizations’ international exchange programs, supporting arts organizations’ transformation to the social enterprise to strengthen their business management, and business consultancy programs to the arts organization. In recent years, public funding policy has been changed; multiple-year intensive funding program has increased and indirect supporting system liaison with performing theater has been intensified. These changes seem to be progressed to the desirable direction. It is also desired to build up programs that establish the basis of the workcreation such as business consultancy programs and reinforcement of the applicable legislation. However, current public funding policy for the performing arts organization still has some issues to be solved. This thesis reviews current public funding system for the private performing arts organizations and its problems. It continues to discuss a desirable direction for the better circumstance of the private performing arts organization. This paper points out what are the top priorities to be solved to reform a vulnerable structure of the performing arts organizations and to make these organizations present a world-class creativity.

공연예술시장 활성화를 위한 공연예술통합전산망(KOPIS) 개선방안 연구

김현영(Kim Hyeonyeong),이환수(Lee Hwansoo) 한국문화융합학회 2021 문화와 융합 Vol.43 No.8

공연예술정보를 통합관리하고 있는 공연예술통합전산망(KOPIS) 시스템에 대한 효율적인 운영과 활성화를 위한개선방안을 제시하고자 한다. 이를 위해 일본, 미국, 프랑스, 독일, 호주의 유사 사례를 분석하였고, 그 결과를 바탕으로 국내 공연예술통합전상망의 시스템 한계점과 개선방안을 다음과 같이 제시하였다. 첫째, 공연예술단체 및공연예술인, 관객 입장의 공연정보 제공 및 연동이 필요하고 이를 지원하는 플랫폼 중심의 확장이 필요하다. 둘째, 국민 공연예술의 보편화와 향유를 위한 공연 및 공연예술시설 활용과 접근성이 용이한 시스템으로 인프라를 확충할 필요가 있다. 셋째, 공연예술통합전산망 운영은 경영자, 운영자, 공연예술시설, 공연자, 관객 등 다각화된 대상을 위한 조직 구성으로 균형적인 지원이 제공되어야 한다. 마지막으로 지역 공연 및 공연예술시설을 위한 정보 및데이터의 전국적인 연동과 지역 내 및 지역 간 공유를 위한 지역커뮤니티 네트워크 체계가 구성되어야 한다. 본 연구는 지역 공연예술과 공연예술시설의 균형적 발전과 공연예술시장 활성화를 위한 방안을 제시한다는 점에서 의의가 있다. In order to activate the performing arts market, the integrated management of information on performing arts is very important Thus, this study intends to suggest improvement measures for the efficient operation and activation of the KOPIS system, which integrates and manages the information. For this, similar cases in Japan, the United States, France, Germany, and Australia were analyzed, and based on the results, the limitations and improvement measures of KOPIS were presented as follows. It is necessary to provide and link performance information from the perspective of performing arts groups, performing artists, and audiences, and it is necessary to expand the platform to support it Second, it is necessary to expand the infrastructure with a system that facilitates the use and accessibility of performing and performing arts facilities for the universalization and enjoyment of national performing arts. Third, the operation of KOPIS should be provided with balanced support for diversified targets such as managers, operators, performing arts facilities, performers, and audiences. Lastly, it is necessary to activate the local community network for nationwide interlocking of information and data for local performing arts and performing arts facilities and for sharing between regions. This study is meaningful in that it suggests a plan for the balanced development of local performing arts and performing arts facilities and the growth of the performing arts market.

뉴미디어 시대, 중국국가대극원의 홍보 전략과 해외 공연 예술 교류 가능성

배혜은 고려대학교 중국학연구소 2023 中國學論叢 Vol.- No.79

China has set the goal of digitizing the cultural industry through official government policies, such as the ‘14th Five-Year Plan’, and in particular, the Chinese performing arts industry has transitioned more rapidly to the new media era as it went through the crisis of pandemic. Under these circumstances, China's leading performing arts institution, ‘National Centre for the Performing Arts’ has actively implemented a brand strategy from the beginning of its establishment, and is promoting exchanges with overseas cultural and artistic institutions by utilizing online platforms and various media. In this regard, this paper focuses on the ability to produce art performances, art marketing through online-platform, and how these elements lead to overseas performing arts exchanges. As a significant partner in the field of performing arts for Korea also, National Centre for the Performing Art has the core capabilities and management methods, especially online marketing strategy, It is believed that this research would provide some useful implications for promoting exchanges in the field in the future. In order to integrate the functions of various online platforms and build its own federation system, the National Center for the Performing Arts launched the ‘Beijing Forum for Performing Arts’ in 2020. This is a step in line with the digitization of national culture and the construction of a cultural database emphasized by the Office of the Office of the State Council of China, and it has enabled more active exchanges with art institutions in other countries through the medium of performing arts. In the future, it is hoped that cultural exchanges with Korean performing arts institutions and collaborative performance, as its achievement, will also be actively carried out with the advantages of the new media era.

공연예술콘텐츠를 활용한 문화산업단지 조성 사례 연구: 캐나다 몬트리올 “토후 서커스예술복합단지”를 중심으로

송희영(Song Hee young) 한국예술경영학회 2007 예술경영연구 Vol.12 No.-

The purpose of this paper is to discuss the strategies for promotion of cultural industry focused on the development of performing arts complex center, reviewing the current performing arts environment in Korea. In order to have better understanding of the impact of performing arts complex center to the enhancement of cultural industry, I studied the TOHU, la Cite des arts du cirque, in Montreal, Canada, a very unique circus arts complex center in the world, as a successful model in its field. Before analyzing the management system of the TOHU Center, I first tried to clarify the general definition of the terms related to cultural industry and performing arts content. Secondly, I reviewed the current Korean performing arts market and discussed about some of hot issues in conducting industralization of performing arts contents. Then, I examined the benefits and impact of the establishment of a performing arts complex center through the case study of TOHU. The major idea of this study can be summarized as follows. As the global paradigm has been shifted from economic industry to cultural power based on human’s emotional feelings, imagination and creativity, the cultual contents is considered as the most important resource which produces a high value-added in modern society. In Korea, the emergence of industralization employing the cultural arts contents has been driven strongly by the both public and private sector. In the wave of the current environmental changes of culture, the performing arts field has been lying under the challenge of industralization, along the rapid growth of box-office income in the musical area, initiated by the first success of 〈Phantom of the Opera〉, in the year of 2001. It might be fortunate to tell that the Korean performing arts market has been continuously growing and now is time to consider industralization, however, some of critical issues and problems have been found. It means, for example, the high income earned genres are lopsided only the two sectors such as musicales and live concerts. Another issue in performing arts market in Korea is the lack of the distribution system that supply business opportunity to production companies, promoters and presenters. In my view, the industralization for performing arts does not solely mean the increase of gross of box-office income but it should be supplied a satisfying environmental production system. Then, the learning from the case study of TOHU may give us some idea of what would be the good points which promote performing arts contents and develop cultural industry. TOHU Circus arts complex center was composed of the three main bodies, such as En Piste, a national organization of circus arts professional groups in Canada, the National Circus School, and Cirque du Soleil, the global entertainment business company which involves in producing and presenting the circus arts. The most interesting thing about THOU is all the useful infra and resources for promotion of circus arts are gathered in same place and exploring a form of cultual industry cluster. In this special district, for example, the circus arts are produced as a cultural product by the Cirque du Soleil, staged by the members of En piste in theater and consumed by visitors and tourists. Additionally, the promising young circus artists are trained as a professional artist and hired by Cirque du Soleil company after finish the school. In short, TOHU has been considered as one of the successful projects which was transformed into cultural area from the site used be a polluted industrial dump. The idea of TOHU was to create the City of Montreal as the world’s biggest international circus community into an attractive place which draws lots of professional circus artists from the world, as well as international tourists. As a result of the study of TOHU, I found out that the cultural resources, specifically, performing arts contents, such as music, dance, theater, circus and s