문화예술 지원사업 운영 사례분석 연구 : 서울 365 거리공연을 중심으로 = A Case Study on the Operation of Culture and Arts Support Projects- Focused on 365 Street Performance in Seoul -

다국어 초록 (Multilingual Abstract)

This study organized street performances and cultural and artistic activities derived from previous studies through experience cases, collected data for qualitative research, and conducted interviews by organizing face-to-face and non-face-to-face questionnaires. Participants in the study were selected mainly by professional artists such as professional instructors and local activists run by performers of <Seoul 365 Street Performance> The interview consisted of 8 questions on the characteristics of street performances in <Seoul 365 Street Performance> and 6 questions on the performance factors of street performances, and based on this, the analysis results of this study are summarized as follows.
First, <Seoul 365 Street Performance> is a popular program, and it was found that busy modern people can spend their free time and leisure through performances, so they can watch performances in public curiosity and daily life.
Second, it was found that the performers of <Seoul 365 Street Performance> showed an active attitude in developing their abilities and programs to increase the completeness of the performance, and the effect of the performance was improved through a smooth relationship with the staff during the performance period.
Third, it was found that <Seoul 365 Street Performance> was conducted in a classic with a story and provided original performance. In addition, differentiated programs were provided to citizens so that citizens could visit the performance with the introduction and characteristics of instruments and the sound of each instrument, but they could not perform only in professional performance halls.
Fourth, <Seoul 365 Street Performance> was found to reflect the professionalism of the performers by using a performance method suitable for the place and time in each performance to induce professional programs and audience concentration during the performance.
Fifth, <Seoul 365 Street Performance> was found to have helped citizens enjoy culture and arts of various ages by forming a free atmosphere of the performance and performance programs that citizens wanted.
Sixth, <Seoul 365 Street Performance> was found to have not only watched programs with neighbors but also positively helped local residents' culture and arts communities in various places by gathering people due to the performance.
Seventh, <Seoul 365 Street Performance> was found to be enjoyable by stratifying positive emotions and satisfaction through performances in a busy society in consideration of viewers' lunch time or work time.
The conclusions obtained based on the results of analyzing the realistic and practical operation of the <Seoul 365 Street Performance> project are as follows.
First, <Seoul 365 Street Performance> is performed in a moving space, so it is necessary to find a way to promote it in advance so that many citizens can watch it.
Second, <Seoul 365 Street Performance> is a performance with staff, but a cooperative system should be established to establish a smooth relationship between officials and performers by creating a website or various sites to solve the lack of communication with officials.
Third, <Seoul 365 Street Performance> should consider various situations, such as noise and other performances, which are the limitations of street performances, and come up with a plan to share information that can identify the venue in advance in order to increase the completeness of the performance.
Fourth, <Seoul 365 Street Performance> is a popular song for citizens and should seek ways to create an environment where professional classical performances are possible from the perspective of classical music majors.
Fifth, since <Seoul 365 Street Performance> is a performance that sees the influence of the season and the performance standing up, it is necessary to develop a performance technique that can enjoy culture and art and increase the concentration of citizens.
Sixth, <Seoul 365 Street Performance> should diversify the method of performing in various places such as schools, senior citizens' centers, and cultural centers, not in designated places to help foster the community.
Seventh, in <Seoul 365 Street Performance> there is no way to communicate with citizens when it is a non-face-to-face performance due to COVID-19, so a system should be established to share various programs that can help improve the live performance or happiness of the performance.
Participants in <Seoul 365 Street Performance> have limitations in selecting and objectifying research methods and research subjects due to difficulties in one-on-one interviews and direct meetings with research participants due to COVID-19, and future research tasks to supplement this are as follows.
First, quantitative research should be conducted that reflects the opinions of performance experts and citizens to ensure the objectivity of qualitative analysis through research participants by preparing an interview questionnaire for the effect of <Seoul 365 Street Performance>.
Second, we did not hear the opinions of the operators in <Seoul 365 Street Performance> that was not included in this study, and limited to research on programs conducted by researchers, so a study that compares and analyzes other similar performances should be conducted.
Third, <Seoul 365 Street Performance> is being conducted in 50 locations, but the contents of their operational performance are not shared, so research should be conducted to share these performances together.

국문 초록 (Abstract)

본 연구는 선행연구에서 도출된 거리공연, 문화예술 활동을 경험사례를 통하여 정리하였으며, 질적 연구를 위한 자료 수집과 대면과 비대면을 통해 질문지를 구성하여 인터뷰를 실시하였다. <서울 365 거리공연> 연주자가 운영하는 전문예술인 전문강사, 지역 활동가를 중심으로 연구참여자를 선정하였다. 인터뷰 내용은 <서울 365 거리공연>의 거리공연의 특성 8문항과 거리공연의 성과요인 6문항의 질문지를 구성하여 진행하였으며 이를 토대로 연구의 분석 결과를 요약하면 다음과 같다.
첫째, <서울 365 거리공연>은 대중성 있는 프로그램으로 바쁜 현대인이 조금이라도 공연을 통하여 여유 있는 시간과 여가를 보낼 수 있어 대중의 호기심과 일상에서 공연을 볼 수 있다는 점에서 문화예술의 경험을 자연스럽고 적극적으로 관람한 것으로 나타났다.
둘째, <서울 365 거리공연> 연주자들은 공연의 완성도를 높이기 위하여 자신의 능력과 프로그램 개발에 적극적인 자세를 보인 것으로 나타났고 공연의 기간동안 스텝과의 원활한 관계를 통해 연주의 효과를 높일 수 있었다.
셋째, <서울 365 거리공연>은 이야기가 있는 클래식으로 진행하여 독창적인 공연을 제공한 것으로 나타났다. 또한, 시민들에게 악기의 소개와 특징, 각 악기의 소리로 시민들이 공연을 찾아 갈수 있도록 차별된 프로그램을 제공하였지만, 전문적인 공연장에서만 보여줄 수 있는 공연을 하지 못하였다.
넷째, <서울 365 거리공연>은 공연 회차 동안 전문적인 프로그램과 관객의 집중을 유도 할 수 있도록 매 회차에 장소와 시간대에 맞는 연주 방법을 활용하여 연주자들의 전문성이 반영된 것으로 나타났다.
다섯째, <서울 365 거리공연>은 시민들의 문화예술 향유를 위하여 공연의 자유로운 분위기와 시민들이 원하는 공연 프로그램을 구성하여 다양한 연령층의 문화예술 향유에 도움을 준 것으로 나타났다.
여섯째, <서울 365 거리공연>은 공연으로 인하여 사람을 모이게 함으로써 이웃들 함께하는 프로그램을 관람할 뿐 아니라 각종 장소에서 지역주민들의 문화예술 공동체에 긍정적인 도움을 준 것으로 나타났다.
일곱째, <서울 365 거리공연>은 관람자들의 점심시간이나 퇴근 시간을 고려하여 바쁜 사회 속에서 공연을 통하여 긍정적인 감정과 만족을 층족 하여 즐겁게 한 것으로 나타났다.
본 연구는 <서울 365 거리공연> 사업을 현장감 있고 실제적인 운영에 대하여 분석한 결과를 토대로 얻어진 결론은 다음과 같다.
첫째, <서울 365 거리공연>은 이동하는 공간에서 공연이 이루어지기 때문에 많은 시민들이 관람할 수 있도록 미리 홍보하는 방법을 모색하여야 한다.
둘째 <서울 365 거리공연>은 스텝들과 함께 진행하는 공연이지만 관계자와 소통을 할 수 없어 공연에 완성도를 높이기에 부족함을 해결하기 위하여 홈페이지나 각종 사이트를 만들어 관계자와 공연자들의 원활한 관계를 형성할 수 있는 협력체제가 마련되어야 한다.
셋째, <서울 365 거리공연>은 거리공연의 한계인 소음, 다른 공연 등, 여러 상황을 고려하고 공연의 완성도를 높이기 위하여 미리 공연장을 파악이 가능한 정보를 공유할 수 있는 방안을 마련하여야 한다.
넷째, <서울 365 거리공연>은 시민을 대상으로 대중성 있는 곡으로 공연이 진행하여 클래식 음악 전공자의 관점에서 전문적인 클래식 공연이 가능한 환경조성의 방법을 모색하여야 한다.
다섯째, <서울 365 거리공연>은 계절의 영향과 일어서서 공연을 관람하는 공연이기 때문에 문화예술 향유와 시민들의 집중을 높일 수 있는 공연기법을 개발하여야 한다.
여섯째, <서울 365 거리공연>은 공동체 함양에 도움을 줄 수 있도록 지정된 장소에서 공연이 아니라 학교, 경로당, 문화센터 등 다양한 장소에서 공연을 진행하는 방법을 다각화하여야 한다.
일곱째, <서울 365 거리공연>중 코로나19로 인하여 비대면 공연으로 촬영 공연으로 진행하였을 때 시민들과 소통 할 수 없는 방법이 없어 공연의 라이브 공연이나 행복감 향상에 도움을 줄 수 있는 다양한 프로그램을 공유할 수 았는 체제를 구축하여야 한다.
<서울 365 거리공연>에 참여자들은 코로나19로 인하여 1대1 면담과 연구참여자들과의 직접적인 만남에 어려움이 있어 연구 방법과 조사 대상을 선정하고 객관화하는데 한계점을 가지고 있어 이를 보완하기 위한 향후 연구과제를 제시하면 다음과 같다.
첫째, <서울 365 거리공연> 효과에 관한 연구에 인터뷰 질문지를 작성으로 연구참여자를 통하여 질적 분석한 것에 대한 객관성을 보장하기 위하여 연주전문가와 시민들을 의견을 반영한 양적 연구가 이루어져야 할 것이다.
둘째, 본 연구에서 포함하지 못한 <서울 365 거리공연>에 운영자들의 의견을 듣지 못하였고, 연구자가 진행한 프로그램에 관한 연구로 제한되어 다른 유사한 공연과 비교 분석하는 연구가 이루어져야 할 것이다.
셋째, <서울 365 거리공연>은 50개소에서 이루어지고 있지만 이들의 운영성과에 관한 내용이 공유되지 못하고 있어 이 공연들을 함께 공유할 수 있는 연구가 이루어져야 할 것이다.

목차 (Table of Contents)

• 제1장 서론·················································································· 1
• 제1절 연구배경 및 목적································································· 1
• 제2절 연구방법············································································ 3
• 제3절 연구동기············································································ 4
• 제4절 연구구성············································································ 5
• 제2장 이론적배경········································································· 7
• 제1절 거리공연의 배경과 양상························································· 7
• 1. 거리공연의 배경···································································· 8
• 2. 거리공연의 양상··································································· 12
• 제2절 거리공연의 의미와 성격······················································· 16
• 1. 거리공연의 의미··································································· 17
• 2. 거리공연의 성격··································································· 19
• 제3절 거리공연의 유형과 관객의 요인·············································· 27
• 1. 거리공연의 유형··································································· 28
• 2. 거리공연 관객의 요인···························································· 31
• 제4절 거리공연의 특성과 성과요인·················································· 35
• 1. 거리공연의 특성··································································· 36
• 2. 거리공연의 성과요인····························································· 43
• 제3장 연구설계·········································································· 49
• 제1절 연구의 과제와 인터뷰 구성·················································· 50
• 1. 연구의 과제········································································ 51
• 2. 인터뷰 구성········································································ 51
• 제2절 분석대상과 참여자 선정······················································ 54
• 1. 분석대상··········································································· 54
• 2. 연구참여자 선정 및 연구윤리················································· 60
• 제4장 분석 결과········································································ 64
• 제1절 문화예술지원 사업운영 분석················································ 64
• 1. 대중성·············································································· 65
• 2. 적합성·············································································· 69
• 3. 독창성·············································································· 73
• 4. 전문성·············································································· 76
• 제2절 거리공연의 성과요인 분석··················································· 80
• 1. 문화예술 향유···································································· 80
• 2. 공동체 함양······································································· 84
• 3. 행복감 향상······································································· 88
• 제5장 결론················································································ 92
• 제1절 요약············································································· 92
• 제2절 결론············································································· 94
• 참고문헌··················································································· 96
• 별지······················································································· 101
• Abstract·················································································· 102