공연 중계영상의 관객증대 전략- ‘혁신’ 및 ‘서비스 품질’ 모형에 의한 관객분석과 전략과제 제안 = Audience Development Strategy for ‘Live-cast Theater’: Developing Strategies based on Audience Analysis from a ‘Innovation Diffusion’ and ‘Service Quality’ Perspective

다국어 초록 (Multilingual Abstract)

This study focuses on a notable practice in the global performing arts arena that proved – so far - 10 years of life span in its diffusion progress, ‘Live-cast Theater(LCT)’. By illuminating what this new model has achieved and what had been left behind, this study endeavors to put forth the path not only for the future of the model in question but for the performing arts sector as a whole.
To this end, an on-line survey identifies key resources for building future audiences of Live-cast Theater, based on Innovation Diffusion(ID) and Service Quality(SQ) model. The first and foremost factors that affect the preferences of both current and potential audiences were identified as ‘Attitudes’ toward the innovation(ID) and the perception of ‘Liveness’(SQ) regarding the digital content. ‘Global Reputation’ of the performance and ‘Edit/Close-up Features’ of the work(SQ) additionally served as influence for the current group, whereas ‘Social factors’(ID) and ‘Convenience of Cinema-viewing’(SQ) were found to attract the potentials. This investigation brought a sizable ‘LCT-heavy’ segment to light and reassured the potential candidacy of youngsters, in their 20s and under, as future theater-goers, which necessitates further improvements in terms of accessibility, spatial and temporal, and legitimate pricing. Other useful findings and further discussions have been presented.
From a synthetic perspective, the studies combined suggest 9 strategic initiatives, most of which deals with some ground-breaking agenda that has to be sought for the sake of persistency of the performing arts scene. Summed up by three strategic realms, 1) the purpose; “The LCT strategy should play under a transmedia vision that eventually pursues maximizing audience contact, and seek a direct investment, or an M&A deal, in digital media as first priority of implementation.”, 2) the people; “Embrace ‘mobile art’ and build a stronger base for audience participation and keep extensive database tailored to your taste.”, 3) the P’s : “Production, sticking to the core and transgressing conventions, should cater to the needs of target audiences and the new media in question.
Tactics for lowering Prices and diversifying locations along with introducing ‘LCT-tailored Venue’ are suggested. All in all, now it’s time to get out of the auditorium and get into the minds and hands of your ‘digital’ audience.
Let’s stay Relevant

국문 초록 (Abstract)

본 연구에서는 전세계적으로 도입 10주년을 맞이한 ‘공연 중계영상’ 모델에 대하여그 성과와 한계를 종합적으로 논의해 보고 향후 관객증대를 위한 지속가능한 전략과제를 제시해 보고자 하였다. 이를 위해, 국내외 선행연구들을 종합하여 공연 중계영상 모델의 현 상황을 진단하고, ‘공연예술의 혁신적 서비스’라는 관점에서 2가지 연구모형을 도출하여 기존관객은 물론 공연 중계영상을 관람하지 않은 잠재관객들을 대상으로 설문조사와 관람/비관람 요인에 대한 실증분석을 실시하였다. 이를토대로, 공연 중계영상 모델의 관객증대를 위한 9가지 전략과제들을 제안하였다.
관객조사 결과에서는, 기존관객과 잠재관객 두 집단 공통적으로 공연을 영상으로관람한다는 것에 대한 인식(‘태도’)과 ‘현장감’에 의한 기대에 큰 영향을 받고, 기존관객은 ‘공연의 명성과 영상미’에, 잠재관객은 ‘사회적 요인’에 관심이 많은 것으로나타났다. 또한 기존관객 중 ‘영상형’ 집단이 새롭게 조명되고 20대이하 잠재관객층의 중요성이 재확인되면서 이들을 위한 적극적 홍보와 물리적/가격적 접근성 제고필요성이 부각되었다.
관객증대를 위한 전략과제로는, 1) 공연 중계영상의 도입목적과 관련하여, “관객접점 극대화를 위한 트랜스미디어 비전을 추구하고, 디지털 아트 미디어에 대한 직접투자(M&A)를 실행”할 것, 2) 목표관객과 관련하여 “모바일을 주된 마케팅 채널로활용하고, 관객의 참여기반을 넓히며 상호작용 상세이력을 DB로 구축할 것”, 3) 제작/유통과 관련하여 “공연의 본질을 제외한 일체를 관객에게 맞추고, 가격인하와 전문상영관 제도를 확대”할 것을 권고하였다. 이제, ‘공연장 밖’, ‘디지털 관객 속’에서해법을 찾아 ‘판’을 새롭게 짜야 할 때다. Let’s stay Relevant!

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