공연문화의 성장과 하우스매니저의 위상 변화에 관한 연구 = A study on the growth of the performance culture and the changes in the status of the house manager

다국어 초록 (Multilingual Abstract)

This study tried to find out the changes in the status of the house manager, what makes the status of the house manager weaken, and what is necessary to strengthen it in the future. To this, the paper summarized first the role of the house manager and how much the performance culture grew.
The roles of the house manager are various, but this study classified them into four distinct types. Firstly, there are the progress of the performance and the human resources management. The house manager checks and manages the theatre and all the unusual things to be reported so that the show can run smoothly. In addition, the house manager recruits and manages the house usher that is the service personnel of the theatre. The second role is the provision of service for audiences. The house manager should offer the best quality of service to audiences so that they can continuously revisit. Thirdly, the house manager performs administrative work for the theatre. It includes writing daily records, calculating wages for the service personnel, audience survey, and managing commodities for the theatre hall. The fourth and last role is the safety management and inspection of the theatre. The house manager must inspect and manage the theatre so that the audience can enjoy the show without any concerns from the start to the end.
Based on statistics from 2006 to 2019, this study found out how much the performance culture grew. First of all, in the case of the theatre facilities(theatres), 61.4%(64.3%) increased. In terms of size, the number of theatres increased in the order of small-sized, large-sized, and middle-sized theatres. Next, the number of performance groups increased by 66.5%, and it mostly happened in Seoul, capital areas, and metropolitan cities. And most of the increasing groups were theatrical groups. Besides, in terms of workforce, it turned out that the number of employees who plan and produce the performances not working at theatre facilities increased dramatically, rather than that of employees who work at the theatre. Lastly, in the case of the actual results of the performance, the number of both performance and audiences decreased, but takings grew 23.2%.
As the performance culture grew, some changes in the status of the house manager appeared. Regarding the awareness of the house manager, 10.4% of the respondents in 2004 answered they were aware of the house manager, but it rose to 29.5% in 2014. And it appeared 38.5% in the survey of this study in 2021. The number of house managers was only 19 in 2004, but about 84 work as the house manager now. Also, it turned out that the status of the house manager changed through a continuous interest in the house manager certificate organized by the Korea Theater Manager Association(KTMA).
However, it is hard to say that the current changes in the status of the house manager are satisfactory compared to the role of the house manager. Therefore, there need measures to strengthen the standing of the house manager further. This study suggested four ways. Firstly, it is necessary to expand employment. Employment expansion approaches in phases. It prioritizes expanding hiring in obligation from the large theatre to the middle and small-sized theatre. Secondly, there is a need to improve treatment. On average, house managers were non-regular(contract or temporary) employees, working about five days a week with unstable status. And they receive $20,000 to $30,000(20 million won to 30 million won) a year. These conditions can be said to be inadequate considering the amount of work, expertise, and role of the house manager. So treatment improvement is urgently required. Thirdly, there need policy supports. It is necessary to acknowledge the house manager as an essential worker for theatre and to codify regular employment. And there should be financial supports to foster excellent human resources. Last, to cultivate house managers as professionals there is a need to convert the current private certificate into national. Moreover, there should ultimately proceed to offer a house manager-related major in the Department of Culture and Art Management after operating house manager training programs as a part of the non-curriculum and raising awareness.

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1. 연구의 배경 및 목적 1
• 2. 선행 연구 2
• 3. 연구의 방법 및 범위 5
• Ⅱ. 이론적 배경 7
• 1. 하우스매니저의 정의 7
• 2. 하우스매니저의 역할 8
• 1) 공연 진행 및 인력 관리 8
• 2) 관객 서비스 제공 11
• 3) 공연장 행정 업무 15
• 4) 공연장 안전 관리 및 점검 17
• Ⅲ. 공연문화의 성장과 하우스매니저의 위상 변화 21
• 1. 최근 13년간(2006-2019) 국내 공연문화의 성장 정도 21
• 1) 공연시설을 통해 본 성장 정도 22
• 2) 공연단체 및 인력의 성장 정도 26
• 3) 공연실적 성장 정도 32
• 2. 하우스매니저의 위상 변화 37
• 1) 하우스매니저의 인지도 변화 38
• 2) 하우스매니저의 양적 성장 41
• Ⅳ. 하우스매니저 위상 강화 방안 45
• 1. 심층인터뷰 방법과 절차 45
• 1) 심층인터뷰 참여자의 특성 45
• 2) 심층인터뷰 질문지 작성 47
• 3) 심층인터뷰 진행 및 내용 정리 48
• 2. 심층인터뷰 결과 분석 49
• 1) 공연장의 하우스매니저 고용 확대 51
• 2) 하우스매니저의 현실적 처우 개선 56
• 3) 하우스매니저 관련 정책의 수립 66
• 4) 전문인력으로서의 하우스매니저 양성 71
• Ⅴ. 결론 76
• 참고문헌 79
• ABSTRACT 83
• 부록 87