팬데믹과 극장 지원 정책에 관한 메카니즘 설계

우석훈 ( Woo Suk-hoon ) 한국연극교육학회 2021 연극교육연구 Vol.38 No.-

The outbreak of Corona Virus Disease (COVID) 19 gives us a serious disaster globally. The optimism of the early days of the pandemic disappeared, and it is uncertain that it will be completely finished this year in Korea, even though vaccination has already begun. Pandemic, compared to the other disasters like typhoon or earthquake, has some special characteristics : high uncertainty of prediction and very long period of damage. Main damages of other disasters are concentrated in the early stage. In Korea, the social distancing is still maintained in control level 2. In France, third lockdown has just begun due to increasing corona cases, even though vaccination is going on. The policy to the corona pandemic, which has extremely high uncertainty not only about the scale but also the duration, as a disaster, can be divided into two parts: ths virus control to overcome the pandemic and the economic policy to reduce economic losses. There is still a lot of controversy to the effectiveness of Korean Government’s virus control. Any way, Korea is better than Japan in COVID 19 control. However, the economic expenditure of Korean government is only 22% compared to the Japan. The Korean government pandemic expenditure is not enough to absorb the damages caused by COVID 19. We do not have enough experiences about the pandemic policies. Moreover, the measurement of the economic impact can not be made in real time, and is inevitably incomplete due to many indirect effects such as global value chain and inter-industrial effects. Culture and arts are the fields that are directly affected by the physical impact of social distancing during the pandemic session, but their role in economic system is often under-estimated. It seems that many damaged sector by pandemic feel that the government supports are insufficient. There is not exact scheme or method to evaluate the economic damage in times of pandemic and the lack of experiences make solutions much difficult. However, it seems even more difficult in the field of culture. The government's subsidy through the supplementary government budget has already been executed four times in 2020, and the first supplementary budget plan in 2021 was passed by National Assembly in March. If the number of cases per day, which is currently about 500, augments more, the virus control authorities may raise the control level. Naturally, the level of social distancing will be higher than now, and the 6th supplementary government expenditure plan may be prepared. In that case, will the support policy for the culture sector be increased more to cope with the pandemic damage? In reality, it culture sector is not main field during pandemic period, even though social distancing touched severely theaters which is the core of culture economy. Support for the cultural sector by economic authorities was too passive and limited. In Korea, five pandemic supplementary budget plans have been made at the central government level so far, event though the total amount is largely inferior compared to that of the other OECD countries. Among them, support for culture was mainly focused on employment and freelance support, mainly actors, writers and staffs. In addition, there was subsidy for theater ticking and management support in the culture field, but it is insufficient compared to the size of the pandemic economic damage. We need to take more attention to develop the policy support scheme for the theaters, which is under-estimated in economic policy. Is it impossible to design a direct support mechanism for theaters that suffered significant economic losses due to social distancing? Estimated by 2020 ticket sales score, the amount of damage of theaters in the field of performing arts such as theater or dance is 258.9 billion won. If we do the same type of work for the movie market, the damage from movie theater sales in 2021 is about 1.4 trillion won. Based on this economic damage of theaters, we can design a theater support mechanism caused by the social distancing of pandemic. In the control level 2 of the pandemic, the social distancing of theater is to sit space by space. In this case, only 50% of the total audience can enter in the full level. In the case of performing arts such as theater, in general, 70% of audience is usually considered as the break-even point. The gap between the full seat level in social distancing 50% and the break-even point 70% is 20%. Subsidy to this gap is the simplest mechanism to help theaters during the pandemic social distancing. In control level 2.5, the seat distance is doubled. Only 30-40% of audiences can enter depending on the seats placement of each theater. We can design the theater support policy in a similar way. In control level 3, theaters will be closed. In this case, support mechanism could be designed based on production cost, such as labor and fixed costs, rather than ticket sales. In the same way, you can also design theater support for movie market, which becomes much more complicated than the theater performed in only one theater. In the case of independent films and artistic films, the support rate can be augmented in favor of artistic efforts. If one movie occupies too many theaters, the support rate may be lowered. Compared to the other OECD countries, Korea used relatively low govermental budget for pandemic economic support. We could say that there is still a room for the additional financial expenditure. And there is not meaningful policy in the cultural sector, especially in the theater support, because social consensus and discussions are not sufficient in this field. If we think the special characteristics of culture sector in national economy, more discussion will be needed to the theater support.

미군정 시기 국립극장의 논의와 극장의 공공성 담론 연구

이길성 ( Lee Gil-sung ) 수선사학회 2018 史林 Vol.0 No.65

Theaters were important cultural institutions in Korea after the nation’s liberation from the Japanese rule. Promoting the eradication of the remnants of Japanese colonialism and the construction of a democratic national culture, Korean intellectuals argued for the nationalization of theaters and the creation of a national theater. However, their opinions clashed with those of the U.S. Army Military Government in Korea (USAMGIK), and the attempts to nationalize the ownership of International Theater and turn it into a national theater were frustrated during the U.S. occupation of Korea. Initial plans to nationalize theaters were thwarted due to the USAMGIK’s biased administrative proceedings to support the Central Motion Picture Exchange (CMPE). Similarly, the second attempt also failed when the USAMGIK made an arbitrary decision to transfer the rights to the International Theater to Seoul and the building was turned into the official residence for the mayor of Seoul. As a result, a national theater was established only in 1950, two years after the government of South Korea was founded. Through this process, culture professionals and private organizations such as theater associations criticized the administration’s actions at various levels, and many discussions were brought to the fore. Performing arts groups led by theater organizations and film organizations continued to insist on the nationalization or collectivization of theaters and the establishment of a national theater. To the people in the cultural sector, theaters were not only educational institutions but also the foundation on which true Korean culture was to be developed in line with the founding of new Korea. Based on this general idea, different areas of culture changed their emphases in different circumstances. The cultural group that placed a particular emphasis on the construction of a national theater and the public nature of theaters consisted of theater professionals. Under the banner of a new culture, theater groups were competing with American films and commercial plays in the theaters of Gyeongseong. They were becoming more and more weakened due to the waning popularity of stage theater. On the other hand, film groups found themselves in a situation where production itself was impossible, let alone the discussion about screening spaces. Consequently, the most urgent problem for the film groups was the expanded establishment of state-owned film studios and cinemas across the nation. Meanwhile, the Seoul Theater Association, led by theater managers, advocated an adequate harmony of commercial viability and enlightenment. The members of the association agreed that theaters had to answer the call of the times and build national culture, but the theater was fundamentally a commercial space to them. They argued that, since theater managers had a reasonable mind for operating businesses, they needed to be in charge of the theaters to maintain the balance between the public who wanted entertainment and culture professionals who advocated the formation of a national culture. Most of such discussion, however, were rejected by the USAMGIK and barely reflected in policies. Primarily, the USAMGIK’s theater policy was based on the U.S. foreign policy and the policies the U.S. Indo-Pacific Command, led by Douglas MacArthur, implemented in the U.S. occupied Japan. As a result, the policy lacked adjustments or considerations for Korea’s situation or the sentiments of the Korean people. The lack of understanding of the public role of theaters, rejection of the approval to establish a national theater, and unilateral support for the CMPE’s distribution of American films were the main problems in the USAMGIK’s policy. Due to the biased policy and administrative practices of the USAMGIK, the establishment of a national theater proceeded with difficulty, and the purpose of and plans for a national theater were also significantly reduced, resulting in the limited role of the theater as an educational institution for theater professionals and a performance space for high art.

4차 산업혁명 시대, 미래 인재 육성을 위한 학교 내 예술교육 정책에 관한 탐색적 연구: 연극을 중심으로

김현희,박은주,강주희 한국예술교육학회 2019 예술교육연구 Vol.17 No.3

In encountering the full arrival of fourth industrial revolution era, this study aims to propose policy suggestion on the future direction of art education using theater genre within the school education public system based exploratory analysis in the art education in school policy, which was examined through deducing objective index for key competences and reviewing the relationship with the characteristic of theater genre to foster creative future manpower. The scope of analysis for art education policy was based on the art education policy for elementary and middle schools led by the Ministry of Education and the Ministry of Culture, Sports and Tourism, and it was identified that theater, which is one of the most effective tools to develop the key competences of future manpower, has substantially lower utilization rate than other art genres within the art education policy. In order to actively utilize and expand theater within the school education, 1)awareness of theater needs to be improved by educating student·teacher·parent, 2)the opportunities for more diverse theatrical experience need to be expanded, 3)educators who can communicate with students and help them experience education need to be secured and teacher training needs to be provided to reinforce their competency. Lastly, it is imperative for the government and the Ministry of Education to actively provide policy support and promotion. Furthermore, it is important to create an atmosphere of research that is supported and encouraged by policy so that empirical research by art genres on these practical educational performances relevant for combining art education in the field of education can continue to be carried out. 본 연구는 본격적으로 도래하는 4차 산업혁명 시대를 맞아 창의적인 미래 인재를 육성하기 위해 핵심역량 에 대한 객관화된 지표를 도출하고, 연극의 장르적 특징과의 연관성에 대해 검토하여, 학교 내 예술교육 정책 에 관한 탐색적 분석을 바탕으로 향후 학교 교육의 공적 시스템 안에서 연극이라는 장르를 활용한 예술교육이 나아가야 할 방향성에 대해 정책적 제언을 제시하는 것을 목적으로 한다. 예술교육 정책에 대한 분석 범위는 교육부와 문화체육관광부가 주도하는 초등학교 및 중학교 대상 예술교육정책을 바탕으로 진행하였고 그 결과, 미래 인재의 핵심 역량을 개발할 수 있는 효과적인 도구 중 하나인 연극이 예술교육 정책 안에서는 타 예술장 르에 비해 활용도가 상당히 낮은 비율을 차지하고 있음을 확인할 수 있었다. 연극을 보다 적극적으로 학교 교 육 내에서 활용하고 확대해 나아가기 위해서는 첫째, 학생·교사·부모 교육을 통한 연극에 대한 인식개선이 필 요하며, 둘째, 보다 다양한 연극 체험의 기회를 확대하고, 셋째, 학생과 소통하며 교육의 경험을 돕는 교육자의 확보와 역량 강화를 위한 교사 교육이 중요할 것이다. 마지막으로 정부와 교육부의 적극적인 정책적 지원과 홍 보도 절실하다 하겠다. 그리고 교육현장에서 예술과의 접목에 따른 실질적인 교육 성과들에 대한 예술 장르별 실증연구가 지속적으로 추진될 수 있도록 정책적으로 지원, 독려하는 연구 분위기 마련이 필요해 보인다.

질적 문화민주주의 실현을 위한 문예회관 운영에 관한 연구 - 독일과 한국 극장운영 현황 비교를 중심으로 -

권용만,양은영 아시아유럽미래학회 2021 유라시아연구 Vol.18 No.2

현재 대한민국에 건립된 문화예술회관의 수는 무려 255개에 달한다. 2000년 이후에 문예회관 의 수는 양적으로는 가파르게 성장하였으나, 여전히 공연 현장에서는 공공성 저하와 전문성 부족과 같은 경영의 효율성과 효과성에 대한 문제가 끊임없이 제기되고 있다. 본 연구는 문화민주주의에 초점을 맞춰 세계적인 모범 사례로 알려진 독일의 극장운영현황을 국내 현황과 비교 분석하고, 국내와 유럽에서 활동하고 있는 8명의 공연예술가와 극장 경영자를 대상으로 질적 구술 연구를 하였다. 독일은 사회복지 차원에서 예술을 지원하는 설계자(architect) 모델을 택하여 오페라극장을 중심으로 예술을 지원하고 있다. 독일의 문화예술회관의 2019년 총예산은 약 4조 5849억 원이며, 이 중에서 82%가 공공지원금이다. 한국은 표면적으로는 팔길이 원칙(arm’s lenghth principle)을 지향하는 지원자(patron) 모델을 표방하고 있으나 실제 정책 수행에서는 미국과 같이 시장경제 논리를 지향하는 촉진자(facilitator) 모델을 택하고 있어 효과적인 정책적 지원이 이루어지지 않고 있다는 학계 내 비판이 일고 있다. 한국의 문화예술회관의 2019년 총예산은 약 7,683억 원이며, 이 중에서 공공지원금의 비중이 79.2%를 차지한다. 1인당 문예회관 연간 예산은 독일이 한국보다 3.7배가 많다. 독일은 55,158원을, 한국은 14,837원을 공공 극장 운영에 사용하고 있다. 가장 큰 차이점은 예술인고용에 있다. 더욱이 독일은 기획과 제작을 담당하는 임직원 중에서도 10%는 전문 예술가 출신이다. 이에 반하여, 대한민국 문화예술회관 중에서는 단지 12.6% 만이 전속 예술단을 운영하고 있다. 대한민국을 대표하는 예술의 전당을 포함해서 87.4%의 문화예술회관은 단 한 명의 전문 공연예술가도 고용하지 않고 있다. 독일 극장에서는 예술감독을 중심으로 예술적 전문성을 갖춘 임직원들이 모든 공연을 직접 기획하고 제작하고 있으며, 한 시즌에 여러 작품을 번갈아 가면서 공연하는 레퍼토리 극장체제로 운영된다. 반면에, 한국의 극장은 경영자와 관료 중심으로 운영된다. 극장에 고용된 큐레이터의 역할을 담당할 전문 기획자가 없다. 한국을 대표하는 예술의전당조차도 대관 위주로 운영되고 있으며, 공연 기획과 제작은 외부 민간 협력사에 의존하고 있다. 본 연구의 결론과 실무적 시사점은 다음과 같다. 독일은 오페라극장을 중심으로 사회복지 차원에서 공연예술을 지원하였고, 전문 공연예술가들이 일반 대중을 이끄는 방식으로 질적 수준이 높은 문화민주주의를 실현하였다. 한국의 공연예술 분야에 질적 문화민주주의 정착을 위해서는 1) 예술가 중심으로 극장을 운영하고, 전문성을 높여야 한다. 2) 극장 중심의 통합 경영을 통해 행정 인력을 위한 인건비 중복 지출을 줄여 문화예술회관의 경영 효율성을 개선하여야 한다. 3) 임대 위주의 극장에서 제작 위주의 극장으로 전환해야 하며, 독일의 레퍼토리 시스템을 벤치마킹해야 한다. 4) 재능 있는 예술가들의 지속 고용을 통해 질 높은 공연을 제공하여 문예회관 경영의 효과성을 높여야 한다. 5) 주민 참여를 늘리기 위해서 독일의 Extra Chor(주민 합창단)와 Kinder Opera(어린이 오페라) 제도를 국내에 도입해야 한다. There are currently 255 culture and arts centers in Korea. Although the number has rapidly expanded since 2000, many critical issues about efficiency and effectiveness, such as lack of publicity and expertise in managing culture and arts centers, have been raised in the performing arts world. This study compares and analyzes the current state of the opera theater management system in Germany, known as the best in the world, with that of Korea, and conducts an in-depth qualitative interview with performing arts experts and a theater manager currently working in Korea and Europe. Germany has chosen the Architect model that supports art centered on the opera theater in terms of social welfare. The total budget for culture and arts centers in Germany in 2019 is about 4,584.9 billion Wons, 82% of which is public support funds. On the surface, Korea advocates the Patron model, which pursues the arm’s length principle. However, when it comes to the actual policy implementation, it has chosen the Facilitator model. The Facilitator model, which the United States has chosen, depends heavily on the market economy logic. Scholars have continuously criticized the model for the lack of consistency and effectiveness. The total budget of Korea’s culture and arts centers in 2019 is about 768.3 billion won, 79.2% of which are public subsidies. The budget for culture and arts centers per capita is 3.7 times larger in Germany than in Korea; Germany spends 55,158 won per person and Korea spends 14,837 won per person. In German theaters, more than 45% of their employees are performing artists. Moreover, 10% of the employees working in the planning and management fields are made up of former professional artists. However, only 12.6% of Korean culture and arts centers have directly employed one or more performing artists. The others, including the most prestigious Seoul Arts center, have none of such employment. Therefore, all performances in German theaters are directly planned and produced by executives and staff with artistic expertise, led by artistic directors. The German theater operates a repertoire theater system in which several works are performed alternately in one season. On the other hand, mainly bureaucrats operate the Korean theaters. Culture and arts centers operate theaters on a lease basis, and perform-ance planning and production rely solely on external private partners. They do not hire any professional curators who are capable of sophisticated planning. The conclusion and managerial implications of this study are as follows. Germany supports performing arts on a social welfare level, centered on the opera theater, and realizes the high-quality cultural democracy where professional performing artists lead the general public. Therefore, to establish a qualitative cultural democracy in the performing arts in Korea, 1) it is necessary to operate theaters centered on artists and enhance artistic expertise. 2) Through theater-centered integrated management, the culture and arts centers should improve the management efficiency by reducing redundant costs on personnel expenses for administrative staff. 3) It is necessary to switch from rental-oriented theaters to production-oriented theaters by benchmarking the German repertoire theater system. 4) The culture and arts center management must enhance its efficiency by providing high-quality performances through the continuous employment of talented artists. 5) To increase resident participation, Korea should adopt the German system as seen by Extra Choir (resident choir) and Kinder Opera (children’s opera).

남북한 통일 정책의 변화로 본 북한연극연구사

김정수 ( Jeong Soo Kim ) 한국연극학회 2012 한국연극학 Vol.1 No.46

What is noteworthy with regard to the researches related to North Korean theater is that there are periods in which the researches were actively made, there are particular periods that are excluded from research objects, and there are untapped territories in research themes. The periods in which the researches were actively made were the period from 1990 to1991 and from 1997 to 2004. The reason is that the July 7 declaration in 1988 and the ``Korean race community unification plan``in 1989 caused the social sentiments toward North Korea to be transferred from cold war to dissolution,and expanded the interest in North Korea. The 1st South-North Korea high level talks held in Seoul on September 5, 1990 and the 2nd South-North Korea high level talks held in Pyeongyang on October 17 are the examples that show this fact. The publication of the books on the North Korean theater and art at intervals of 4 or 5 months for one year in 1990 is also related to this fact. The other period from 1997 to 2004 in which the researches were active belongs to the early and middle of the ``entering period of reconciliation and cooperation,``and during this period, Kim Dae-jung government developed the engagement policy towards North Korea and promoted exchanges and cooperation in the economic area. What matters is that such attitudes of the government influence not only politics but also academic circles. It is because an absolutely isolated place does not exist in a society. Second, the reason for the existence of the period that is excluded from the research objects or of the period which did not draw the researchers` interest is related to the availability of relevant data. The data related to the 1970s are the most and are easily available. It is because movierevolution, opera revolution, theater revolution took place in a row in the 1970s and North Korea itself calls this period the revolutionary period. Third, the reason for existence of untapped territories in theater themes is the characteristics of theater art whose creation and extinction occur simultaneously. Unlike movies, theater has no objectified texts. And it is also because researches related to North Korea began with political and socialaspects and literature. Due to the characteristics of North Korea where politics and art are not separated, political and social researches, researches on ideological implications form the main stream, and the start with the viewpoint of literature becomes the mechanism that produces researches on theater and play in large quantities. If so, what is the desirable environment for researches on North Korean theater? The ``closed society``of North Korea makes it impossible for individual researchers to have academic delight and passion. As revealed in the course of making researches, the political and social environment has a profound effect on the researches on North Korea. Accordingly, consistent national supports are needed. And balanced researches are also needed. To achieve this, first, the viewpoints themselves should become diverse. Researches from the political and social viewpoint have been the mainstream up to the present, but in the future, they should be accompanied by researches from the viewpoint of theater and art.

근대 가부키극장의 성립과 변용

백현미 단국대학교 일본연구소 2014 일본학연구 Vol.42 No.-

This paper examines organization of 'Sintomi-za', policy for drama improvement' and their effects on establishment of 'Kabuki-za', the modern Kabuki theater. First, it is thought that although the number of 'Sintomi-za' audiences was decreased due to radical reformation of it which was driven into a corner in terms of management because of its dept, their favors for 'high-class society' and status of theater are consequently increased, so it came to be perceived as superior to other theaters. Second, from Club for Theater Improvement's involvement in Kabuki, which was founded principally by politics, economics, media and academics, realized the theater as 'the ideal of middle-class society'. Therefore, construction of the Western-style theater and improvement of actors'/actresses' behaviors were promoted. There seemed no substantial performances from improvements of play and theatergoing method, but the improvements might have a significant effect on change of Kabuki by realizing 'Cheonnam-Kabuki' which meant that Japanese emperor went to see the Kabuki. Third, the 'Kabuki-za' founded by a member of Club of Theater Improvement began with the purpose of 'moderate improvement'. It is supposed that the direction of improvement was changed toward modern theater with commercial by individual investors, due to concerns about low box office record because of drastic reformation. In conclusion, the opening of 'Sintomi-za' and the Club of Theater Improvement's involvement in Kabuki seemed to play a significant role in establishing the modern Kabuki theater as they induced an enhancement of Kabuki which had been underestimated until then, with a view to realizing the theater as 'the ideal of middle-class society'

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.

탈식민화, 다양성과 분권화 - 독일 문화정책의 새로운 과제 -

볼프강 슈나이더 덕성여자대학교 인문과학연구소 2020 인문과학연구 Vol.0 No.31

Art media discuss individuals’ freedom and dignity, express contradicting relationships and most of all, provide things that can be thought and experienced in symbolic forms. Art with the themes of individuality and social ties not only affects the society beyond the area of artistic communication but also contributes to human beings’ forming values and purposes. A cultural policy recognized as a social policy is needed, and art and culture must be designed together. This study proposed cultural policies to develop the right cultural policy in the various cultural environments in Germany, attaching importance to the spirit of the 2005 UNESCO Convention that deals with the protection and promotion of the diversity of cultural expression. In other words, this study proposed the cultural policy of decolonization and that of local decentralization. In the cultural policy of decolonization, concerning racial discrimination in all aspects and restrictions on the rights of artists, journalists, and scholars as part of the “Art Right Justice” Program, a study conducted in the research institute of the Department of Cultural Policy at Hildesheim University draws attention. The cultural policy of local decentralization is an important matter, considering the distribution of population in Germany, in which 70% are living outside of a big city. The term “provincial theater” is a concept not protected and not yet defined, but it is related to the space of a province as a venue of the experimentation of performing arts. provincial theater is not limited to the space of a province. Regarding this, “Global Village Lab,” the national support program of the 2019 Performing Arts Fund attracts attention, which mentioned the international relationships and global contexts of social, artistic, and academic exchanges for the successful establishment of performing arts in the agricultural area. 예술 매체는 개인의 자유과 존엄성을 논의하고, 서로 모순된 관계를 표현하고, 무엇보다도 생각하고 체험할 수 있는 것을 상징적인 형태로 제공한다. 개인성과 사회적 유대감을 주제로 하는 예술은 예술적 소통의 영역을 넘어서 사회에 영향을 미칠 뿐 아니라 인간이 가치와 목적을 형성하는 데 기여한다. 사회정책으로 인식되는 문화정책이 필요하고, 예술과 문화는 같이 설계해야만 한다. 이 글에서는 문화적 표현의 다양성 보호 및 증진을 다루는 2005년 유네스코 협약의 정신을 중시하여, 독일의 다양한 문화적 환경에서 올바른 문화정책을 펼치기 위한 문화정책을 제시하였다. 즉 탈식민지화의 문화정책과 지방 분권화의 문화정책을 제시하였다. 탈식민지의 문화정책은 모든 측면의 인종 차별주의와 예술가, 저널리스트, 학자의 권리에 대한 제약은 “예술 권리 정의” 프로그램의 일환으로 힐데스하임 대학교 문화정책학과의 연구소에서 진행된 연구가 주목된다. 지방 분권화의 문화정책은 독일에서는 인구의 70%가 대도시의 밖에 살고 있는 분포를 고려하면 중요한 사항이다. “지방 연극”이라는 용어는 보호되지도 아직 규정되지도 않은 개념이지만, 공연예술의 실험장으로서의 시골 공간과 관계가 있다. 지방연극이 단지 지방이라는 공간에 한정된 것을 아니다. 이와 관련하여 농촌지역에서 공연예술이 잘 성립되게 하기위해서 사회, 예술, 학문적 교류가 국제적인 관계 및 글로벌적 맥락을 언급한 2019년 공연예술 기금의 국가적 지원프로그램인 “글로벌 빌리지 랩” 이 주목된다.

국립극장 극장레퍼토리 구축 사례 연구: 국립무용단 <춤, 춘향>, <Soul, 해바라기>, <향연>의 구축 순환 구조를 중심으로

이주영 무용역사기록학회 2020 무용역사기록학 Vol.57 No.-

The purpose of this dissertation is to analyze the National Theatre of Korea’s theater repertoire foundation using Dance, Chun-Hyang; Soul, Sunflower; and Hyang-Yeon. The analysis will be performed using the ‘the circulation structures of establishing theater repertories’ method. The results of the analysis are as follows. As a national brand performance, Dance, Chun-Hyang is a National Theatre of Korea’s unique, symbolic, identity establishment contribution. Through the production and casting, as well as extraordinary attempts in casting, various performance techniques are used to successfully achieve feedback system. The National Dance Company of Korea’s steady seller Soul, Sunflower was selected as a National Theatre of Korea’s ‘most wanted to be seen again’ performance by the audience, which can influence the company’s management policy. With its high artistic quality and box-office popularity, the piece shows an exemplary case that satisfy administrative requirements. Hyang-Yeon represents a traditional dances that been modernized. The reinvention and reinterpretation of traditional dance in this piece produce meaningful outcome that would provide the structural foundation of the repertoire. When analyzing works of art, the theater repertoire’s 3 aspects of representativeness, artistic value, and continuity has been seen to aid in ‘policy decisions’, ‘production environment’, and ‘feedback system’ for convergence and divergence. 이 논문의 목적은 국립극장 극장레퍼토리 구축 사례를 국립무용단 세 작품, <춤, 춘향>, <Soul, 해바라기>, <항연(饗宴)>을 통해 분석함에 있다. 연구방법인 ‘극장레퍼토리 구축 순환구조’를 통해 극장레퍼토리 구축 사례를 진단한다. 논의 결과를 종합하면 다음과 같다. <춤, 춘향>은 국가브랜드공연으로서국립극장의 고유성, 상징성, 정체성 확립에 기여한다. 작품 시, 캐스팅 등 인적 변화 시도, 다양한 유형의 공연 시행을 통해 환류 기능을 충실히 수행했다. 국립무용단 스테디공연인 <Soul, 해바라기>는 국립무용단 ‘다시 보고 싶은 공연 1위’라는 관객 평가가 정책적 측면에서 작동할 수 있는 동인이 된다. 높은예술성과 객석점유율 등 정량적 지표 결과는 경영성을 충족하는 요소로 작용한다. <향연>은 전통춤현대적 수용의 전형성을 보여준다. 원형 기반 재창조와 재해석 작업의 유의미한 성과는 극장레퍼토리구축 토대가 될 수 있다. 세 작품 사례 분석을 통해 볼 때, 극장레퍼토리 3요소인 대표성, 예술성, 지속성은 ‘정책 결정’, ‘제작환경’, ‘환류’로 수렴되고 확산됨을 확인했다.

Neue Aufgaben deutscher Kulturpolitik

Wolfgang Schneider 덕성여자대학교 인문과학연구소 2020 인문과학연구 Vol.0 No.31

Art media discuss individuals’ freedom and dignity, express contradicting relationships and most of all, provide things that can be thought and experienced in symbolic forms. Art with the themes of individuality and social ties not only affects the society beyond the area of artistic communication but also contributes to human beings’ forming values and purposes. A cultural policy recognized as a social policy is needed, and art and culture must be designed together. This study proposed cultural policies to develop the right cultural policy in the various cultural environments in Germany, attaching importance to the spirit of the 2005 UNESCO Convention that deals with the protection and promotion of the diversity of cultural expression. In other words, this study proposed the cultural policy of decolonization and that of local decentralization. In the cultural policy of decolonization, concerning racial discrimination in all aspects and restrictions on the rights of artists, journalists, and scholars as part of the “Art Right Justice” Program, a study conducted in the research institute of the Department of Cultural Policy at Hildesheim University draws attention. The cultural policy of local decentralization is an important matter, considering the distribution of population in Germany, in which 70% are living outside of a big city. The term “provincial theater” is a concept not protected and not yet defined, but it is related to the space of a province as a venue of the experimentation of performing arts. provincial theater is not limited to the space of a province. Regarding this, “Global Village Lab,” the national support program of the 2019 Performing Arts Fund attracts attention, which mentioned the international relationships and global contexts of social, artistic, and academic exchanges for the successful establishment of performing arts in the agricultural area. Eines der großen kulturpolitischen Projekte der Bundesrepublik Deutschland ist das sogenannte „Humboldt-Forum“, das im neu erbauten Stadtschloss inmitten Berlins geplant ist. Dabei geht es um nicht mehr oder weniger als um eine historische Klärung 100 Jahr nach dem Ende deutscher Kolonien:Was wurde anderen Kulturen geraubt und außer Landes gebracht? Wie geht es weiter mit den ethnologischen Museen in Deutschland und Europa? Und welche Präsentation der Artefakte wird im 21. Jahrhundert dem Anspruch gerecht, die Kolonialzeit kritisch aufzuarbeiten? Provinienz-Forschung wird dabei ebenso Schwerpunkt einer neuen Kulturpolitik wie der Umgang mit Restitution. Eine andere Baustelle ist unmittelbar an die Debatte um Dekolonialisierung geknüpft:Wie viel Vielfalt repräsentiert die deutsche Kulturlandschaft? Personal, Programm und Publikum der Kunstbetriebe, insbesondere Theater und Museen, entsprechen immer noch nicht dem Querschnitt der Bevölkerung! Und die hat zu einem Viertel Migrationshintergrund, bleibt aber trotz öffentlicher Förderung außen vor. Es gibt viele künstlerische Projekte und kulturpolitische Programme, die sich dem Diversitätsmanagement widmen und mit Audience Development Impulse zu setzen wissen, um der UNESCO-Konvention zum Schutz und zur Förderung der Vielfalt kultureller Ausdrucksformen gerecht zu werden. Dazu zählen auch Maßnahmen der kommunalen Kulturpolitik in Bund, die Dezentralität von Kulturarbeit zu ermöglichen. Mit dem Programm „TRAFO-Modelle für Kultur im Wandel“ wendet sich die Kulturstiftung des Bundes erstmals gezielt an ländliche Regionen und kleinere Gemeinden, um dort Transformationsprozesse anzustoßen. Dabei geht es nicht allein darum, möglichst viele der bestehenden Einrichtungen zu bewahren, sondern vielmehr nach ihrer veränderten Rolle zu fragen:Wen wollen wir erreichen? Wie soll ein attraktives Kulturangebot in Zukunft aussehen? Wie kann es anders organisiert werden? Gefördert werden Projekte und künstlerische Ansätze mit Pionierfunktion, die neue Wege kultureller Produktion aufzeigen.