공연예술콘텐츠의 플랫폼 활성화 방안

송은아 한국연기예술학회 2020 연기예술연구 Vol.18 No.2

4차 산업혁명시대에서는 정보기술의 급격한 발전과 관객의 라이프스타일의 변화에 따라 공연예술 시 장의 새로운 패러다임의 등장이 예상된다. 본 연구는 공연예술 관객선호도의 변화를 예측하고 이에 기반 한 공연예술 마케팅의 방향을 모색하는 것을 목적으로 하였다. 관객선호도 파악을 통해 공연예술 관객의 욕구를 충족시킬 수 있는 프로그램을 개발하고 공연예술콘텐츠플랫폼의 구축은 관객에 만족도를 향상시 키는데 기여할 수 있을 것이다. 본 연구에서는 공연플랫폼에 대한 스마트폰 또는 인터넷 사용자의 관객 선호도 조사를 통해 공연예술콘텐츠의 관객 선호도에 미치는 영향의 정도를 설문조사를 통해서 실증 분 석하였다. 설문결과의 회귀분석결과 유의수준 10%에서, ‘스마트폰 또는 인터넷 이용시간은 공연예술콘텐 츠플랫폼의 이용에 영향을 미칠 것이다. ‘과거의 공연에 대한 관람의사’, ‘플랫폼에서의 공연예술콘텐츠 이용가격’, ‘공연예술교육정도’, ‘콘텐츠 감상 후 피드백 가능여부’, 그리고 ‘플랫폼에서 문화콘텐츠 지식 의 습득가능 여부’ 등은 공연예술콘텐츠플랫폼의 이용에 유의한 영향을 미치는 것으로 분석되어 채택하 였다. 4차 산업혁명시대에서는 이러한 관객의 변화를 고려하여 공연예술콘텐츠플랫폼의 기능과 역할을 재정립하고 운영할 때 공연예술콘텐츠플랫폼의 활성화가 가능할 것이라고 판단된다. 이러한 연구결과는 4차 산업혁명시대에서 예술가와 관객, 예술단체, 공연예술콘텐츠플랫폼 모두가 만족할 수 있는 효과적인 마케팅 전략을 개발하는데 기초자료로 활용될 수 있을 것이다. 이에 본 연구에서는 4차 산업혁명시대 인 터넷 중심의 생활에 익숙한 스마트폰 사용자를 통해서 공연예술콘텐츠에 대한 새로운 요구의 내용을 선 도적으로 파악하고 공연예술 시장의 변화를 예견하고 이에 대응할 수 있는 방안을 제시하고자 한다. In the 4th Industrial Revolution era, a new paradigm in the performing arts market is expected to emerge due to the rapid development of information technology and the changing lifestyle of the audience. The purpose of this study was to predict the change in audience preference for performing arts, and to seek the direction of performing arts marketing based on this. By grasping the audience preference, we will develop a program that can meet the needs of the performing arts audience. And the construction of a performing arts content platform could contribute to improving the satisfaction of the audience. This study empirically analyzed the degree of influence on the audience preference of the performing arts contents through a survey of the audience preference of the smartphone or Internet users on the performing arts platform. The regression analysis results of the survey results are as follows. At a significance level of 10%, ‘Smartphone or Internet use time will affect the use of the performing arts platform (Hypothesis 1)’ was rejected, ‘Intention to watch past performances’, ‘Performing art content on the platform’, ‘The usage price’, ‘The degree of performing arts education’, ‘Whether feedback is possible after appreciating the content’, and ‘Whether the platform can acquire knowledge of cultural contents’ were analyzed as having a significant effect on the use of the performing arts platform and were adopted. In the era of the 4th Industrial Revolution, it is judged that it will be possible to revitalize and operate the functions and roles of the performing arts content platform in consideration of such changes in the audience. The results of these studies can be used as basic data to develop effective marketing strategies that can be satisfied by artists, audiences, art groups, and performing arts platforms in the 4th Industrial Revolution 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

공연예술아카이브 교육 콘텐츠 개발환경 개선 방안 연구

김도연 한국무용과학회 2020 한국무용과학회지 Vol.37 No.2

This study encourages to development educational contents by using records preserved at performing arts archives as soon as possible. To conclude the result, this study explored the examples of dance archives and educational contents in England and uncovered several complex issues encountered by national performing arts archives. In order to make diverse education programmes fully based on performing arts records, firstly, korean art archives need to consciously move from 'collecting and preserving' to 'utilising' in organisational system and work process, as well as keep networks with educational institutions and related organisations. This will enable performing arts archives to communicate and cooperate, and reflect feedback from them and consistently develop. In addition, archives should provide programmes and manuals for users to utilise archives. In terms of copyright, performing arts archives are being in trouble. Records are very fragile as performing arts archives include different kinds of medium. This is the reason why performing arts archives need to have educational system and manuals for users. Most of all, copyright have to be solved and managed for people to utilise records related to performing arts as mush as possible. Without positive changes in copyright of performing arts, it is very hard to find solutions and probabilities to develop educational contents. Studies on materials of performing arts professionally and modern technologies such as AR・VR or AI make educational contents more fruitful and colorful. 본 연구는 공연예술아카이브 교육 콘텐츠 개발환경 개선 방안을 제시하기 위해 영국을 중심으로 무용 아카이브와 교육 콘텐츠 사례를 알아보고, 국내 공연예술아카이브와 비교하여 현황과 문제점을 분석하였다. 공연예술기록을 적극적으로 활용한 교육 콘텐츠를 개발하여 아카이브 활성화를 도모하기 위해서는 첫째로 수집과 보존보다 활용이 중심이 되는 의식 변화를 바탕으로 교육 콘텐츠 개발 등과 관련한 전문 인력과 조직체계, 그에 따른 예산을 확보해야한다. 교육 콘텐츠 개발을 위한 적극적인 조사와 연구에 착수하고, 교육기관 및 유관기관과의 지속적인 네트워크 형성과 협력이 반드시 병행되어야 할 것이다. 두 번째로 아카이브 소장 자료를 쉽고 편리하게 이용할 수 있게 단계별 이용자 교육 프로그램 개발이 시급하다. 아카이브는 물리적 훼손을 최소화해야하는 유일본을 다루는 기관이다. 또한 기록 간의 관계, 즉 맥락 정보가 중요하여 기록의 그룹이나 컬렉션 단위로 접근하는데 의미를 두는 아카이브의 고유한 특성 때문에 아키비스트의 적극적인 안내와 도움 없이는 공연예술아카이브를 쉽고 편리하게 이용하기 어렵다. 체계적인 이용 매뉴얼과 교육 프로그램 개발이 시급하다. 마지막으로 공연예술아카이브의 교육 콘텐츠 개발을 위해 무엇보다 먼저 해결해야할 것은 저작권 문제이다. 공연 작품의 구성 요소별 법의 적용 기준과 범위를 구체화하여 법에 저촉되지 않는 선에서 최대한 기록들을 활용할 수 있는 제도적 기반이 마련되어야 할 것이다. 이러한 문제점이 개선되고, 자료에 대한 전문적인 조사·연구를 바탕으로 4차 산업혁명과 함께 변화하는 사회에 맞는 첨단기술이 적용된 교육 콘텐츠가 개발된다면 공연예술아카이브는 더욱 활성화되고, 공연예술기록의 가치는 더욱 확장될 수 있을 것이다.

공연예술분야 온라인 공유 플랫폼 및 서브 콘텐츠 연구 – 『태양의 서커스 엔터테인먼트』 사례를 중심으로

김가은,박진원 한국콘텐츠학회 2022 한국콘텐츠학회논문지 Vol.22 No.2

본 연구는 다양화된 영상 매체 플랫폼을 통한 공연예술 분야의 온라인 공연 콘텐츠 제작 형식과 현황을 고찰한다. 이를 위해 태양의 서커스 엔터테인먼트의 선도적 사례를 연구하여 태양의 서커스만의 브랜드 가치혁신 요소, 디지털 허브 플랫폼인 “Cirque Connect” 배경 및 현황과 오리지널 콘텐츠를 다각화한 다양한 서브 콘텐츠를 분석하였다. 공연예술 분야의 디지털 플랫폼 활용 및 서브 콘텐츠 제작은 미디어 콘텐츠 감상에 익숙한 대중의 니즈를 파악하여 공연기획 초기 단계부터 다방면의 서브 콘텐츠 생성을 고려한 전략적 기획이 필요하다. 이는 서브 콘텐츠의 질적 향상을 도모하고 다양한 문화예술분야 콘텐츠와의 차별성으로 공연예술 디지털 콘텐츠의 상품적 가치를 높일 수 있을 것이다. 온라인 플랫폼을 통해 작품과 관련된 다양한 관점의 정보를 손쉽게 접할 수 있는 환경은 빠르게 변화하는 문화향유 방식에서 공연예술분야의 대중성을 향상 시키며 공연예술 산업의 저변확대를 가능케 할 것이다. 다변화된 문화의 흐름 속에 공연예술분야가 경쟁력을 갖기 위해서는 작품의 예술적 문화 가치를 높이는 브랜드 가치 혁신과 그것을 기반으로 하는 다양한 서브 콘텐츠 제작이 무엇보다 중요한 과제라 할 것이다. This study examines the forms and current status of online performance content production in the field of the performing arts through diversified video media platforms. For this, it studied the leading case of Cirque du Soleil Entertainment and analyzed the unique brand value innovation elements of Cirque du Soleil, the background and current status of the digital hub platform of "Cirque Connect", and its various sub-contents that have diversified original contents. Digital platform applications and sub-content production in the field of the performing arts require an understanding of the needs of the public, who are familiar with media content appreciation, and strategic planning that takes into consideration everything from the initial stages of performance planning to the creation of varied sub-contents. This will promote the improvement of sub-content quality and increase the product value of digital contents in the performing arts through distinctions made from other various forms of cultural and artistic contents. environments in which information from various perspectives related to performance works can easily be accessed through online platforms will enhance the popularity of the performing arts field and allow the performing arts industry to expand its base in rapidly changing cultural enjoyment methods. For the performing arts field to be competitive within cultural trends that are being diversified, the most important tasks to be completed are gaining brand value innovation that enhances the artistic and cultural value of performance works and based on this, producing various sub-contents.

공연예술콘텐츠의 가치와 융합적 구조

허난영(Hur-Lan Young) 한국콘텐츠학회 2016 한국콘텐츠학회논문지 Vol.16 No.1

본 연구는 공연예술의 제작․유통 과정을 콘텐츠진흥법상 기술·산업과의 융합형태를 살펴보고자 한다. 2000년대 이후 영역 간 콘텐츠 생산과 공유방식은 공연예술의 제작․유통구조를 전환시키고 있다. 최근 나타나고 있는 공연예술실황영상은 공연예술의 시공간적 경계를 뛰어넘어 예술 창작과 소통의 영역을 확장하여 기존 체계를 변화시키고 있다. 현재성과 공간적 제한성을 전제로 출발되었던 공연예술은 실황영상화를 통하여 시공간의 경계를 뛰어넘는 새로운 플랫폼을 창출하고 있다. 공연예술은 기술·산업 영역과 융합하여 보편적 접근성을 확대하는 계기를 마련하고 있으며, 문화적 형평성이라는 공공 공연장의 공공적 가치를 확장할 수 있는 가능성을 보여주고 있다. 이러한 맥락에서 본 연구는 고급예술로 불리어지는 오페라, 클래식, 발레 등의 공연예술이 영상산업과 어떤 방식으로 결합되고 있는지를 살펴봄으로서 공연예술콘텐츠의 가능성을 모색하고자 한다. This study aims at examining the making and distribution course of performing arts and its converged form with technology and industry in terms of the Contents Promotion Act. Since the 2000s, the inter-area contents making and sharing methods have been changing the making and distribution structure of performing arts. The recent production of performing arts contents live videos extends the areas of arts creation and communication beyond the time and spatial boundaries of performing arts and changes the existing systems. The performing arts which started with nowness and spatio-temporal restriction on the premise is now creating a new platform over the spatio-temporal boundary through the live video. Performing arts, in convergence with the areas of technology and industries, expands universal approaches and shows the public value of cultural fairness at public performing arts centers. In this context, this study aims at seeking the possible extension of performing arts contents by examining how the so-called high-class performing arts such as opera, theatre and classical music combines with the visual industry.

한국 글로컬 공연예술 콘텐츠 사례 연구 - 연극 「햄릿-디 액터」(Hamlet-The Actor)를 중심으로

박은지 한국예술경영학회 2017 예술경영연구 Vol.0 No.44

We are in the era of what’s called ‘Glocalization’ when new aesthetic framework is being produced, based on the ‘Global’ and ‘Local’ value, under the broad cause of exploring ‘Globalization’ and ‘Localization’. In such an era, the strategy of Glocalization at the level of multi-directional cultural arts field, could not but be a very important theme that provides much insight to rising creators and the global audience. The theatric play 「Hamlet - The Actor」is the work that adapted and produced 「Hamlet」, one of the motifs of modern theatric plays that is used through the most innovative and various change, and one of texts of theatric plays most famous in the world, which is recognized as the major field in modern art. Also, this is evaluated as the significantly excellent work becoming an indicator of the discussion on the strategy of Glocalization as the Korean culture and art contents that has recently been receiving keen attention. As the glocal performing arts contents, the work has been recognized in its originality, artistic value and popularity to secure the solid status at home and abroad, and has lured a great effect on the national and foreign academic circles and performing arts markets, forming a broad discourse throughout the whole process of the strategy of Glocalization in linkage with the ecological feedback of planning, developing and producing culture and art contents. What the research study adopts as the main research theme is to analyze exhaustively the structure and content of the work 「Hamlet - The Actor」in external and internal contexts which is expanding and reproducing its influence as the glocal performing arts contents; to extract particular elements; and investigate logically how and where each element is mutually connected in Glocalization process in order to arouse strategical synergy. There have been the analytic results of the data that strategical elements at a Glocalization level - such as ‘the possibility of change in experimental production for stabilization’, ‘design of originality in an aesthetic sense’ and ‘the development of platform, as distinct glocal performance art contents promotion’ were discovered. Such elements were embodied as new key words - such as ‘empathy on the great theme’, ‘the adequate layout of condensation and extension’, ‘the reinterpretation on innovative tradition’, ‘originality of usefulness’, ‘the recognition as glocal performing arts contents’, and ‘encounter with the global audience’. Based on the results of the study, it was understood that the greater importance must be placed on the awareness that producing successful culture and art contents must be interpreted as the same context as establishing the strategy of Glocalization as the requisite and sufficient condition to do so. This would provide the field of a more constructive discussion to reach a new orientation, a discussion about for example, by what structures and methods culture art contents must be produced to introduce the global audience by shedding a new light on the implication of Globalization and Localization. The research is significant in the sense of drawing a growth engine and a direction to lead the Korean glocal performing arts contents industry. It is expected that this would be the basic foundation to establish more multi-dimensional culture and art policies as the practical guideline on future strategies to make the stable planning and ecological feedback that could reflect the specific features that Korea has in multi-directional cultural art contents field. ‘세계성’과 ‘지역성’을 함께 탐색해 나간다는 의미에서의 ‘글로벌’(global)과 ‘로컬’ (local)의 가치를 필두로 한 새로운 미학적 프레임을 만들어가는 ‘글로컬’(glocal) 시대를 맞이하며, 전방위 문화예술 분야의 글로컬라이제이션 전략은 차세대 크리에이터 및 글로벌 관객들에게 많은 시사점을 던져주는 중요한 테제가 아닐 수 없다. 연극 「햄릿 - 디 액터」(Hamlet - The Actor)는 현대연극에 있어 가장 다채로운 변용에의 대상이자 전 세계적으로 가장 유명한 희곡 텍스트 중 하나인 「햄릿」을 각색해만든 작품으로, 최근 더욱 활발해지고 있는 한국 문화예술 콘텐츠의 글로컬라이제이션 전략에의 논의 가운데 좌표 되어 있는 유의미한 수작으로 평가받고 있다. 본작품은 독창성과 예술성, 흥행성을 인정받아 글로컬 공연예술 콘텐츠로서 대내외적위상을 차지, 국내외 학계 및 공연예술 시장에 커다란 반향을 이끌어내었음은 물론문화예술 콘텐츠와 관련된 글로컬라이제이션 전략 전반에 폭넓은 담론을 형성해가고 있다. 본 논문은 글로컬 공연예술 콘텐츠로서 그 영향력을 확대, 재생산하고 있는 「햄릿- 디 액터」가 지니는 작품의 외적, 내적 측면에서의 구조 및 내용상의 면밀한 작품분석을 통해 특징적 요소들을 추출함으로써, 각각의 요소들이 글로컬라이제이션 과정에 있어 구체적으로 어떠한 지점에서 상호 연관되어 전략적 시너지를 일으키고있는지를 논리적으로 규명해나가는 것을 연구의 주된 주제로 삼고 있다. 자료 분석결과 ‘안정성을 담보한 실험적인 연출에의 변용 가능성’, ‘심미적 관점에서의 디자인오리지낼리티’, ‘차별화된 글로컬 공연예술 콘텐츠 프로모션 플랫폼 개발’ 등 글로컬라이제이션 측면에서의 전략적 요소들이 발견되었으며, 이는 다시 ‘대 주제 공감’, ‘응축성과 확장성의 적절한 배치’, ‘혁신을 가미한 전통의 재해석’, ‘유용성을 덧입은독창성’, ‘글로컬 공연 콘텐츠로서의 위상’, ‘글로벌 관객과의 만남’의 중심 키워드로구체화되어 나타났다. 이러한 결과를 바탕으로 성공적인 공연예술 콘텐츠 제작은 문화예술 콘텐츠 글로컬라이제이션 전략 개발과 긴밀한 연관성을 지니고 있음이 밝혀졌으며, 이는 다시금 ‘글로벌’과 ‘로컬’의 함의에 집중하게 함으로써 어떠한 구조와 방식으로 문화예술 콘텐츠를 제작하여 전 세계 관객들에게 소개해야 하는지에대한 새로운 차원의 지향점을 고심하도록 하는 건설적인 논의의 장을 마련해줄 수있을 것이라 판단된다. 본 연구는 추후 한국의 글로컬 공연예술 콘텐츠 산업을 이끌어나갈 성장 동력 및하나의 방향성을 획득해 간다는 점에서 의의가 있겠으며, 전방위 문화예술 콘텐츠분야에서 한국만의 특장점을 살릴 수 있는 안정적인 기획, 제작 생태계 마련을 위한 글로컬라이제이션 미래 전략을 수립하는 데 실질적 지침으로서 기능, 보다 다층적 차원의 문화예술 정책 수립의 기반이 될 것으로 기대된다.

메타버스 환경 기반 공연예술 콘텐츠 특성 연구 - 국내 사례를 중심으로 -

박진원,김가은 한국문화융합학회 2022 문화와 융합 Vol.44 No.9

Along with rapid conversion to the digital age, the metaverse is influencing various industries. Accordingly, performing arts industry, too, is trying convergence to develop metaverse environment-based performing arts contents and extend artistic value. The purpose of this study is to examine the cases of metaverse environment-based performing arts contents in Korea currently in early stages and analyze the key points and implications at the planning and production stages according to the goals of production. This is one of the most important tasks to improve the quality of metaverse performing arts contents and increase the value of products through distinctiveness among various culture and arts contents. If it is activated to accept and create metaverse environment-based performing arts contents, it will be possible to heighten the popularity of the performing arts area and expand the base of performing arts industry in the society of digital media rapidly changing. In order for performing arts contents to become competitive within the cultural flow of the virtual digital world called the metaverse, it will be needed to realize advanced media technology and also create contents based on the essence and artistic value of performing arts.

공연예술 콘텐츠의 온라인 유통 방안에 대한 연구

박상순 한국연극교육학회 2022 연극교육연구 Vol.41 No.-

Technological progress in the era of the 4th industrial revolution has an overall effect on the art ecosystem. In particular, the digital media platform is emerging as an important topic in the mediation area in the process of production and consumption of art after COVID-19. The production, distribution, and consumption of art content riding on online digital technology is gradually expanding through the platform. It is still in its infancy, but it is gradually expanding rapidly. This virtuous cycle structure has a great impact on the performing arts world as well. The attempts of new online-based performance styles and changes in delivery methods are also a fresh stimulus for the performing arts world. Due to the COVID-19 outbreak, the video of a performance and the use of a digital media platform will also change the role of the local cultural foundation. Local cultural foundations implemented culture and arts policies for the enjoyment of local people's art and the activities of artists, mainly offline. Today's digital media platform is a new challenge. This study is a study on various attempts and directions to prepare the online content foundation of local cultural foundations in the environment of non-face-to-face performing arts. As a first step, we examine the current state of damage in the performing arts sector due to COVID-19 in terms of performance volume and region. And we look at the response policies of art-related public institutions. In the second stage, we analyze the attempts of a performance imaged in a non-face-to-face environment. It is an analysis of the possibility of a video performance where digital technology is applied and the performance meets the audience in a non-face-to-face manner. As a third step, we examine how performing arts operate on digital media platforms. First, understand the increasing use of digital platforms in non-face-to-face personal spaces after COVID-19. And the change of communication mode and dependence on digital platform are analyzed. We look at the expansion trend of the distribution of performances based on digital platforms. We compare OTT platforms of domestic and foreign large OTT platforms and public culture and arts related institutions. As a fourth step, we examine the online infrastructure establishment policy of the regional cultural foundation. Using eight regional cultural foundations as data materials, the analysis is focused on operating channels, access trends, and major business contents. And it analyzes the online content expansion and digital transformation policies and implementation projects of the regional cultural foundations that are currently being implemented. The regional cultural foundation is preparing an interactive ecosystem for art production and art consumption through a digital media platform, and is entering the stage of preparing the environment for the acceptance and development of new art forms. It provides opportunities for challenging experiments to art producers and provides a platform for art consumers to participate in active art activities without time and space restrictions. In early 2020, the activities of the local cultural foundation were contracted and temporarily transformed due to COVID-19. New changes in the production of works by artists and the activities of local residents in the theater industry have been an opportunity to rethink the role of the local cultural foundation. Now, the use of digital media platforms has become a necessity rather than an option. Regional cultural foundations need to establish online-based policies in consideration of the purpose, nature, and direction of their respective establishments, and should extensively review methods such as expansion from existing platforms and establishment of integrated platforms. Specialized content is required while performing its own role, and the philosophical basis for digitalization must be considered. First, in the production of video content, ...

무애무의 공연예술 콘텐츠화 방안에 관한 연구

김철수 동방문화대학원대학교 문화예술콘텐츠연구소 2023 문화와예술연구 Vol.23 No.-

본 연구는 신라 시대 원효에 의해 만들어진 무애무의 공연 예술 콘텐츠화 방안에 관한 연구이다. 파한집과 삼국유사의 기록을 통하여 1300년 전부터 전해져 내려온 무애무의 성립에 대하여 알아보았으며, 신라에서부터 고려와 조선으로의 시대적 상황과 역사의 흐름에 따라 무애무의 형태와 내용이 전승되어온 과정을 살펴보았다. 그리고 무애무의 현대적 공연예술 사례인 독무, 군무, 무용극의 세 가지 형태에 대한 것을 조사하고 비교·분석하였다. 또한, 음악, 무용, 연극, 뮤지컬, 마당놀이 등을 대상으로 한 무애무의 공연예술 콘텐츠화에 대한 방안을 제시하였다. 무애무의 변천 과정을 라메리(La Meri)가 정리한 민족무용 분류법에 의거하여 그 변화양상을 살펴보면서 원형의 변천에 대한 당위성을 수용하고 무애무의 공연예술 창작 방향을 살펴보았다. 결과, 신라의 원효가 추었던 무애무는 고려시대와 조선시대를 거치면서 궁중으로 유입되어 시대적인 상황에 따라 그 원래의 맥이 끊어진 점은 있으나 그 과정에서는 라메리의 분류법과 같은 과정을 거치면서 변천된 것임을 알 수 있었다. 역사적 가치를 지닌 신라 원효의 무애무는 기록으로 전해져 내려오는 무보(舞譜) 등 자료의 빈곤으로 인하여 완전한 원형의 복원은 불가능한 상태이므로 현시대에 부응하는 공연예술 콘텐츠화를 위해서는 라메리의 분류법 네째의 ‘창조적인 분리’와 다섯째 ‘응용된 기법들’을 적용하여 공연예술 콘텐츠화를 추구할 필요성이 있다. 따라서 전통의 고수라는 고정관념에 얽매이지 않는다면 음악, 무용, 연극, 뮤지컬, 마당놀이 외에도 표현방식이 다른 현대무용, 발레 등 다양한 장르의 분야 역시 무애무를 주제로 하는 콘텐츠화가 가능하다고 본다. 이러한 시각에서 우리의 전통문화이자 역사인 ‘무애무’는 그 독창적인 면에 있어서 국제화와 세계화에 발맞출 수 있는 긍정적인 소재가 될 수 있음을 알 수 있다. 따라서 본 연구는 예술인들의 공연 예술 콘텐츠화에 대한 인식의 재고를 가져오는 계기가 되고자 한다. This study is a study on how to make performing arts contents of Mooae dance created by Wonhyo in the Silla period. Through the records of Pahanjip and Samguk Yusa, we looked into the establishment of Muaemu, which has been passed down for 1,300 years. and We looked at the process by which the form and content of Muaemu were passed down according to the historical situation and flow of history from Silla to Goryeo and Joseon. In addition, we investigated, compared, and analyzed three types of modern performing arts examples of Muaemu: solo dance, group dance, and dance drama. In addition, a plan for transforming Muaemu into performing arts content for music, dance, plays, musicals, and madangnori was presented. By examining the change process of Muaemu based on the national dance classification organized by La Meri, we accepted the justification for the transformation of the original form and looked into the direction of Muaemu's creation as a performing art. As a result, Muaemu danced by Wonhyo of Silla was introduced into the royal court through the Goryeo and Joseon Dynasties, and although its original vein was lost depending on the circumstances of the times, it changed through the same process as Rameri's classification method. I could see that it had happened. Wonhyo's Muaemu of Silla, which has historical value, cannot be completely restored to its original form due to the lack of materials such as dance records that have been passed down through records. Therefore, in order to transform it into performing arts content suitable for the current era, the fourth of Lameri's classification ' There is a need to pursue the content of performing arts by applying ‘creative separation’ and fifth ‘applied techniques’. Therefore, if one is not bound by the stereotype of being an adherent of tradition, it is possible to create content with the theme of Muaemu in various genres such as modern dance and ballet, which have different expression methods, in addition to music, dance, plays, musicals, and madangnori. From this perspective, we can see that ‘Muaemu’, our traditional culture and history, can be a positive material that can keep pace with internationalization and globalization in terms of its originality. Therefore, this study aims to serve as an opportunity to reconsider artists' perception of performing arts content.

공연기술 진화에 따른 무용 콘텐츠 제작 환경 연구

이주영 한양대학교 우리춤연구소 2020 우리춤과 과학기술 Vol.16 No.2

The aim of this study is to research the production circumstances of dance contents according to the technological advancement in performing arts. Art and technology are in the relationship of a strongly mutual complement. The two should be a structure with a single fate which is organically combined and chemically responding each other. This study identifies it as the fulfillment of ‘technological creativity’. To achieve the goal of the study, the researcher examines the status of technological advances in performing arts and features of dance contents production and analyzes cases of dance contents products. As a result, the study finds out that producing dance contents must meet conditions in three different aspects; policy, technology and production. First, the policy must play a role of platform as its mission. That is, all processes of the policy making must devote the most labor to bond reasonable policy making and budgets supporting tight with production companies and its technologies. A test bed should be prepared by supporting policies to stable relevant technologies. Second, the performance planning should begin with the idea of technological development from the early stage. Technology education for performing arts is inevitable and absolute for ones to accept and advance the technology for performing arts. Intensive courses must be introduced so that one could access and master stage relevant technologies. Third, technologies and production should be synchronized firmly on the basis of reflecting universal traits in dance contents production. For harmonious productions, the progress and commercialization of special effects on stages are recommended. Today technological evolution in performing arts is required to bear art stages with considerable degree of completion. When it comes to producing a dance contents, especially, The key is to preserve immanence and originality of a dance itself, give the full presentation of it, and make discussed conditions accommodated. Consequently, the answer on how to decrease the gap between technological and stage languages could be found on the stages.