• The Journal of the Korea Contents Association
• /
• v.16 no.1
• /
• pp.241-255
• /
• 2016

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.

• Proceedings of the KAIS Fall Conference
• /
• 2009.12a
• /
• pp.118-121
• /
• 2009

제주지역의 대표적인 공립예술단이라고 할 수 있는 제주특별자치도립예술단 소속 교향악단과 합창단을 중심으로, 지역 공립예술단을 활성화하기 위한 체계적인 마케팅 기법 도입방안을 제시하고자 한다. 더 나아가서 향후 다른 장르의 공연예술 분야에도 적용할 수 있는 마케팅 전략의 이론적 틀을 제공하는데 연구의 목적이 있다. 본 연구에서는 공연 관람객을 대상으로 설문조사와 면접을 실시하고 공연 마케팅의 5대 요인(제품전략, 가격전략, 장소전략, 촉진전략, 고객전략)과 공연 관람객이 인식하는 공연 활성화 요인(공연 만족도, 타인 추천의향, 재관람 의향)과의 상관관계를 살펴봄으로써 마케팅 전략적 측면에서 제주공연예술단의 활성활 방안을 모색하기 위한 이론적 근거를 제시해보고자 하였다. 본 연구의 가설검증 결과를 요약하면 공연 활성화에 영향을 끼치는 마케팅 전략 요인은 제품전략과 가격전략, 그리고 고객전략이었다. 제품전략과 관련해서는 '공연작품 및 작가', '공연단체 및 출연진의 유명도' 그리고 '공연의 예술성과 흥행성'을 고려해야 하는 것으로 나타났다. 가격전략에서는 관객들이 입장료 '할인혜택'과 '적정한 가격이라는 느낌'을 갖도록 하는 것이 중요하며, 고객전략에서는 공연 이외에도 꾸준한 '고객관리'와 '공연정보 제공' 그리고 '공연체험', '공연시간 준수' 등이 주요 고려사항이었다.

• Journal of the Korean BIBLIA Society for library and Information Science
• /
• v.24 no.1
• /
• pp.249-268
• /
• 2013

This paper investigates the copyright problems faced in the process of collecting Performing Arts Records by the Performing Arts Institutions and the Performing Arts Archives. For this, first, the collected records at the scene of performing arts were classified. Secondly, the copyright problems were judicially analyzed based on the classification drawn. As a result, first, the copyright itself constitutes very complicated copyright systems since performing arts are thought to have characteristics of comprehensive arts, reborn with an artistic work from various fields such as music, stage and costumes. Secondly, the documentaries produced in the theater scene subsequently leads to another copyright problem which are different from one the copyright of the concert itself. Thirdly and lastly, this paper revealed that the copyright issues can be variously constituted according to record type and the substantial production body.

• The Journal of the Korea Contents Association
• /
• v.16 no.4
• /
• pp.88-99
• /
• 2016

Traditional Performing Arts is a key element of national competitiveness that represents the identity of a country. Preserving traditional performing arts such as traditional culture overall aggregate such as literature, art, music, dance, theater and enable it to meet future national culture is to secure a competitive brand. Meanwhile, it shrouded in advance global success of K-pop and TV content, such as our popular culture, but our traditional performing arts sector, there has been a steady effort to receive the attention of the world and expanding capacity and performance. Now, this point will be a new policy approach needed to expand more popular in both domestic and world demand in traditional performing arts. In this study, we propose a strategic plan to raise the popularization and industrialization of our own needs and unique traditional performing arts opportunities for successful overseas expansion and promotion of the content of traditional performing arts.With the help of information technology.

• Journal of Digital Convergence
• /
• v.19 no.11
• /
• pp.485-498
• /
• 2021

This study confirmed the perceptions of performing arts field workers and related experts under the theme of non-face-to-face performing arts. As a result of the analysis, first, respondents agreed with the practical need for non-face-to-face performing arts, but respondents in the field viewed the lack of "fieldability" and "communication with the audience" of non-face-to-face performances as a problem. Second, respondents who participated in non-face-to-face performance production had negative perceptions of realism, immersion, interaction with the audience, lack of enjoyment outside the performance, and difficulties in securing budgets, filming and editing, and actors' acting commitment. Third, regarding the government's non-face-to-face performing arts-related support policy, they complained that support was only given to specific organizations and a small number of people, and administrative difficulties in support. Through this study, it can be suggested that face-to-face and non-face-to-face performance arts should be treated in a complementary and balanced relationship in terms of government policy.

• Journal of Legislation Research
• /
• no.55
• /
• pp.7-56
• /
• 2018

This paper deals with the legal meaning and issues of street performances. The key elements in the legal sense of street performances (or artistic performances) are 'public places' and 'artistic activities'. Therefore, as far as belongs to "artistic activities in public places", we can call them in principle as street performances regardless of its level of art, whether they are paid or not, size of performances or genre of artistic activities. Street performances are a way for anyone to freely participate and enjoy art by being performed on open places. In addition, street performances can be seen as more popular and democratic artistic acts than mainstream art culture in that anyone can become street performers. Although street performances are in vogue and becoming a universal cultural phenomenon, they do not appear to be legally organized yet. However, we don't have to strictly regulate street performances on the grounds that they are something different and special. Instead, they should let their street performances be freely performed and enjoyed in accordance with the constitutional law that guarantees the freedom of art or the freedom of artistic expression. Of course, it is necessary to modify the relevant laws on key issues raised regarding street performances. Finally, for street performances to be well established as cultural phenomenon, it should be harmonized that efforts to observe the law and orders by street performers, mature rituals and cultural tolerances of citizens who enjoy street performances, and efforts to realize the purpose of cultural countries and to promote street performances by governments.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
• /
• v.9 no.6
• /
• pp.9-21
• /
• 2014

Source and use of investment money in the content business has been subject to closer attention, This study attempts to identify the information asymmetry problem in the performing art are, focusing on the Korean musical play. Despite the various discussions in the venture capital practice in the performing art area, there has been few studies analyzing the investors' perspective. While juggling with the 'artistic value' and 'rate of return', the investors are concerned about the 'transparency' of the performing art practice. When coupled with the subjective judgment of 'artistic value', the information asymmetry between the investor and the performing art manager becomes more delicate. In the performing art business, 'SPC(Special Purpose Company)' is considered a possible solution to organize the deal structure in this field. This study analyzes the role of SPC regarding the information asymmetry problem.

• Journal of Korea Game Society
• /
• v.18 no.3
• /
• pp.79-86
• /
• 2018

Hologram that usually used in modern art performance and movie, is now also used in different area such as architecture, car design, IT, medicine, design and different types of multi-media art performance. This study is to analyze how hologram works in stage production and affect in variety types of art performance and also how it affects in future art performance.

• Trans-
• /
• v.6
• /
• pp.1-15
• /
• 2019

Performing arts is an intangible arts that disappears immediately at the moment it is presented and remains only in the memory of the performer's body and audience. The same repetition, restoration and reproduction of the disappeared performance is impossible, but artists of all times and places have tried various recording methodology to leave their performances in the tangible form. The performing arts archive is where performing arts are recorded, preserved, and utilized. In the fourth industrial Revolution era, library institutions in developed countries are turning into institutions that support creative activity by not only artists but also the general public. Korea's performing arts archives should also shift from the role of an old archive to a platform to create new cultural contents. This paper summarizes the changes in the Korean performing arts archive and presents the creative application of the performing arts archive in response to the fourth industrial revolution.

• Journal of the Korean Society for information Management
• /
• v.33 no.2
• /
• pp.77-102
• /
• 2016

The effective searching for performing arts contents can be achieved by providing various access points and searching methods based on specialized metadata. The purpose of this study is to develop a faceted navigation interface which user could effectively and efficiently retrieve performing arts contents even if the users do not know accurate descriptive information about them. Therefore, the study, first, investigated search access points and navigation items providing by other the performing arts retrieval systems and to analyze information seeking behaviors of university students who major in music, dance and theater. And then, the study proposed the 36 facets with the 9 main facet categories suitable for performing arts and also proposed 27 descriptive elements suitable for performing arts contents. Finally, the study developed the performing arts contents retrieval system based faceted navigation interface with 3,360 experimental data and conducted an in-depth interview in terms of usability, serendipity, and efficiency. The applying the faceted navigations for searching performing arts contents will help users access and utilize them in the retrieval system and moreover satisfy user demands.