대중문화예술인의 감정노동, 역할 스트레스, 디롤링, 번아웃 증후군 간의 구조적 관계 탐색 = Exploring the Structural Relationships Among Emotional Labor, Role Stress, De-roling, and Burnout Syndrome in Popular Cultural Artists.

국문 초록 (Abstract)

본 연구의 목적은 감정노동 산업 구조 속에서 높은 역할 스트레스를 경험하는 대중문화예술인의 번아웃 증후군을 설명하는 심리적 경로를 규명하고, 디롤링 전략과 실존적 충만감이 번아웃 예방 및 정신건강 보호에 기여하는 회복 기제를 분석하는 데 있다. 이를 통해, 대중문화예술인을 위한 ‘실존지향 디롤링’ 기반 개입 모델의 이론적‧실증적 근거를 제시하고자 하였다. (사)한국음악실연자권리협회 및 (사)한국방송실연자권리협회에 가입된 최근 3개월 내 활동한 20세~60세 대중음악인과 배우를 대상으로 2025년 9월 26일부터 29일까지 온라인 설문조사를 실시하였다. 최종 255명(대중음악인 92명, 배우 163명)의 자료를 대상으로 R(version 4.3.3)을 활용하여 기술통계, 신뢰도 및 상관관계 분석을 실시하였으며, Hayes(2018)의 PROCESS Macro 4.3을 사용하여 Model 4(단순 매개모형) 및 Model 6(3중 순차 매개모형)을 적용하였다.
주요 연구 결과는 다음과 같다. 첫째, 감정노동은 번아웃에 대한 직접효과가 유의하지 않았다(β=−.030, p=.689). 둘째, 역할 스트레스는 감정노동과 번아웃 증후군 간의 관계에서 단독 매개효과를 나타내지 않았다(감정노동→역할 스트레스: β=.725, p<.001; 역할 스트레스→번아웃: β=.130, p=.154). 셋째, 디롤링 전략 사용의 단독 매개효과 역시 유의하지 않았다(감정노동→디롤링: β=.511, p<.001; 디롤링→번아웃: β=-.084, p=.133). 넷째, 실존적 충만감은 감정노동과 번아웃 간 관계에서 유의한 매개효과를 보였다(감정노동→실존적 충만감: β=.321, p<.001; 실존적 충만감→번아웃: β=-.585, p<.001). 다섯째, 실존적 충만감을 포함한 순차적 매개경로(감정노동→역할 스트레스→디롤링→실존적 충만감→번아웃)는 유의한 반면, 실존적 충만감을 포함하지 않는 순차 경로는 유의하지 않았다.
본 연구는 대중문화예술인의 번아웃이 감정노동이나 역할 스트레스의 직접적 결과가 아니라, 역할 수행 이후 실존적 충만감이 매개되는 회복 과정의 성공 여부에 의해 좌우된다는 구조적 메커니즘을 규명하였다. 특히 디롤링은 단독 전략으로는 번아웃을 완화하지 못하며, 본 연구에서 제안한 ‘실존지향 디롤링’ 개념에 따라 자기수용과 의미 재통합을 통해 실존적 충만감이 매개될 때에만 보호 기제로 작동함을 확인함으로써, 디롤링을 기능적 역할 벗기 개념에서 실존지향 디롤링으로 확장할 이론적·실증적 타당성을 확보하였다. 이에 본 연구는 실존지향 디롤링 기반의 4단계 회복 프로토콜(역할 벗기–활동 후 변화된 자기수용–의미·가치·목적 재통합–실존적 자기로의 회복)을 제시하고, 대중문화예술인의 작업 특성과 정체성 구조를 반영한 번아웃 예방 중심의 현장 적용 및 교육·중재 연구 확장을 위한 개념적 토대를 제공한다.

주요어: 대중문화예술인, 번아웃 증후군, 감정노동, 역할 스트레스, 디롤링, 실존적 충만감, 실존지향 디롤링, PROCESS Macro 4.3, 순차 매개효과

다국어 초록 (Multilingual Abstract)

This study aimed to provide theoretical and empirical grounds for the concept of Existential-Oriented De-Roling as a psychological recovery mechanism for popular culture artists experiencing burnout. Recognizing the emotionally demanding nature of the entertainment industry and the high role stress it entails, the study investigated the mediating roles of role dissolution strategies and existential fulfilment in the relationship between emotional labor and burnout. A total of 255 participants (92 musicians and 163 actors) took part in an online survey conducted from September 26 to 29, 2025. Using R(version 4.3.3), descriptive, reliability, and correlation analyses were conducted, followed by mediation analyses using Hayes’ PROCESS Macro 4.3(Model 4, 6).
The results were as follows. First, emotional labor had no significant direct effect on burnout(β=−.030, p=.689). Second, role stress did not mediate the relationship between emotional labor and burnout (β=.725, p<.001; β=.130, p=.154). Third, de-roling also showed no independent mediating effect (β=.511, p<.001; β=−.084, p=.133). Fourth, existential fulfilment significantly mediated the relationship (β=.321, p<.001; β=−.585, p<.001). Fifth, only the sequential pathway including existential fulfilment (Emotional Labor→ Role Stress → De-Roling → Existential Fulfilment → Burnout) was significant; the pathway excluding it was not.
These findings suggest that burnout is not a direct consequence of emotional labor or role stress alone but is contingent on the successful recovery of existential meaning. The study proposes a four-stage recovery protocol based on Existential-Oriented De-Roling: role detachment, post-performance self-acceptance, reconstruction of meaning and purpose, and restoration of the existential self. This model provides a conceptual foundation for burnout prevention and recovery interventions tailored to the occupational and identity contexts of popular culture artists.

Key Words : Popular Culture Artists, Emotional Labor, Role Stress, De-Roling Strategy, Existential Fulfilment, Burnout Syndrome, Existential-Oriented De-Roling, Serial Mediation Model

목차 (Table of Contents)

• 차 례
• 감사의 글······························································································i
• 차 례·····························································································ii
• 그림 및 표 차례················································································vi
• 부록 차례···························································································vii
• 국문 초록··························································································viii
• I. 서론··································································································1
• 1. 연구 배경 및 필요성····················································································1
• 2. 연구 목적 및 문제························································································7
• 3. 연구 개요········································································································9
• 가. 연구 범위···································································································9
• 나. 연구 내용···································································································9
• 다. 연구 방법································································································10
• II. 이론적 배경················································································11
• 1. 대중문화예술인····························································································11
• 가. 대중문화예술인의 정의 및 현황························································11
• 나. 대중문화예술인의 산업‧직무 및 구조적 특성··································14
• 다. 대중문화예술인의 성격‧심리‧정신적 특성·········································17
• 2. 감정노동········································································································19
• 가. 감정노동의 개념····················································································19
• 나. 감정노동의 하위요소············································································20
• 다. 감정부조화와 직무소진과의 관계······················································20
• 라. 대중문화예술인의 감정노동································································21
• 3. 역할 스트레스······························································································25
• 가. 역할··········································································································25
• (1) 역할의 개념과 이론적 발전···························································25
• (2) 역할 이론의 주요 접근···································································26
• (3) 역할의 유형·······················································································28
• (4) 역할의 특성·······················································································29
• 나. 역할 스트레스의 개념··········································································30
• 다. 역할 스트레스의 하위요소··································································32
• 라. 대중문화예술인의 역할 스트레스······················································35
• 4. 디롤링············································································································39
• 가. 디롤링의 개념························································································40
• 나. 디롤링의 필요성 및 효과····································································43
• 다. 디롤링의 주요 전략··············································································44
• 라. 대중문화예술인의 디롤링····································································48
• 5. 실존적 충만감······························································································51
• 가. 실존과 실존적 공허··············································································51
• 나. 실존적 충만감의 개념··········································································54
• 다. 실존적 충만감의 하위요소··································································55
• 라. 대중문화예술인의 실존적 충만감······················································57
• 마. 실존지향 디롤링 개념 확장································································58
• 6. 번아웃 증후군······························································································66
• 가. 번아웃 증후군의 개념··········································································66
• 나. 번아웃 증후군의 하위요소··································································67
• 다. 대중문화예술인의 번아웃 증후군······················································69
• III. 연구 방법···················································································72
• 1. 연구 모형 및 가설 설정············································································72
• 2. 연구 대상 및 표본······················································································75
• 가. 연구 참여자 선정 기준········································································75
• 나. 연구 참여자의 표본 수 산출······························································76
• 다. 연구 참여자에 대한 윤리적 고려······················································77
• 3. 연구 도구······································································································79
• 가. 감정노동 척도························································································79
• 나. 역할 스트레스 척도··············································································80
• 다. 디롤링 척도····························································································81
• (1) 디롤링 전략 사용···········································································82
• (2) 실존적 충만감 척도·······································································83
• 라. 번아웃 증후군 척도··············································································84
• 마. 인구통계학적 문항················································································85
• 4. 자료 수집 절차····························································································87
• 5. 자료 분석 방법····························································································88
• IV. 결과·····························································································89
• 1. 연구 참여자의 일반적 특성······································································89
• 2. 주요 변인에 대한 기술통계 분석····························································92
• 3. 상관관계 분석 ····························································································94
• 가. 주요 변인 간 상관관계 분석······························································94
• 나. 변인의 하위요인 간 상관관계 분석··················································95
• 4. 순차적 매개모형 검증·············································································101
• V. 결론 및 제언············································································106
• 1. 연구 결과의 요약 및 논의 ···································································106
• 2. 연구의 제한점 및 제언···········································································110
• 참고문헌··························································································113
• 부 록··························································································131
• Abstract·························································································146
• 그림 차례
• 그림 I-1. 연구모형································································································8
• 그림 III-1. 순차 매개모형················································································74
• 그림 IV-1. 순차 매개모형 분석 결과··························································103
• 표 차례
• 표 II-1. 역할 이론······························································································27
• 표 II-2. 주요 학자들의 디롤링의 정의··························································41
• 표 II-3. 디롤링 전략··························································································46
• 표 IV-1. 연구 참여자 인구통계 및 특성······················································91
• 표 IV-2. 주요 변인들의 기술통계··································································93
• 표 IV-3. 주요 변인 간 상관관계····································································95
• 표 IV-4. 변인 하위요인 간 상관관계··························································100
• 표 IV-5. 매개모형에 대한 경로계수 추정치 및 검증통계량··················101
• 표 IV-6. 간접효과에 대한 부트스트래핑 분석 결과································104
• 부록 차례
• 부록 1. 연구 참여 동의서 및 설명문 ·························································131
• 부록 2. 감정노동 척도·····················································································135
• 부록 3. 역할 스트레스 척도 ·········································································136
• 부록 4. Bailey and Dickinson 디롤링 전략 사용 문항 ·······················138
• 부록 5. 실존적 충만감 척도 ·········································································140
• 부록 6. 인구통계학적 정보 및 근무 특성 문항 ·······································142
• 부록 7. 번아웃 증후군 척도 ·········································································144
• 부록 8. 번아웃 증후군 경험 문항 ·······························································145