• Proceedings of the Korean Institute of Interior Design Conference
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• 2007.11a
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• pp.37-43
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• 2007

In recent years, the cultural industry is considered to a major industry in the 21 century, and performing culture is growing rapidly in Korea. Also, rapid development in terms of quality and quantity can be found in the diversification of usage, a trend focusing on the space for performance, and an emphasis on the accessibility between the stage and auditorium. In addition, active research is being conducted on the performing arts facilities, a relationship between the stage and auditorium, and a space programfor each space considering users. However, most of the current studies are conducted byviewing the facilities in a two-dimensional space. Similar to other cultural facilities, such as museums and galleries, performing arts facilities have been planned in the thinking that the ratio of capacity increases in proportion to the area. Considering a dimensional capacity in the spatial composition of performing arts facilities is important, but it has been ignored until now. Therefore, in order to analyze performing arts facilities in the three dimensional approach, this study is conducted centering on the actual capacity and provides basic data that can be used for planning a construction of future performing arts facilities.

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

• Korean Institute of Interior Design Journal
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• v.21 no.1
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• pp.195-202
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• 2012

This study aimed to analyze the types and characteristics of space forms according to performance types in the space of performing arts centers through the cases of modern performing arts centers. As for the space forms according to the performance forms, the performing arts centers devoted to dramas made a small space or turned into multi-purpose ones entering the modern days. Added to the proscenium, the main stage, was the back stage for the stage background. The area of the stage and auditorium grew similar with some kind of separation between the stage and audience. The concert halls have close relationships with the audience and their stage contacts the auditorium on many sections. The stage space is smaller than the auditorium and usually either the complex or entry type. In the opera theater, they commonly create a space for social gathering in addition to the main stage of proscenium, back stage, side stage and auditorium. They're also distinct from other performing centers for having an orchestra pit between the stage and audience. The stage is twice as big as the auditorium and the separate type. In today's performing arts centers, the sizes of the stage and auditorium can vary widely, and the performances of many different genres are put to multiple purposes.

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

• Journal of Information Technology Applications and Management
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• v.21 no.4
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• pp.35-50
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• 2014

This study examines the relationshipsbetween the antecedents of repurchase intention, with special interest in the role of appraisal emotion and recreation motivation for arts attendance. Appraisal emotion is found to have significant influence on perceived value while recreation motivation is found to directly influence appraisal emotion and perceived value. In a addition to customer satisfaction, peripheral service quality is the only factor that directly affectsrepurchase intention. Arts managers ought to focus on improving the whole experience of performing arts.

• The Journal of the Korea Contents Association
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• v.16 no.4
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• pp.88-99
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• 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 the Korea Academia-Industrial cooperation Society
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• v.16 no.11
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• pp.7831-7837
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• 2015

In order to understand how various support programs affect the development of traditional performing arts, I used descriptive statistics and multivariate statistics analysis on 267 surveys. I estimated relationship between item-whole by calculating mean and standard deviation. This will help us comprehend effects of the variables. Cronbach alpha coefficient, a measure of internal consistency, exceeded 0.7, indicating that reliability is satisfactory. I have established one main hypothesis and four sub-hypothesis to identify the relationship between support programs and the performing arts more clearly. The result supports that the support programs do have effects on the performing arts. However, there are not enough researches done on this subject, and additional researches are needed in order to systemize relevant theories and the development of performing arts industry.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.18 no.12
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• pp.286-299
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• 2017

The Korean performing arts has been facing stagnation due to oversupply, lack of effective distribution system, and insufficient business models. In order to overcome these difficulties, it is necessary to improve the efficiency and accuracy of marketing by using more objective market data, and to secure audience development and loyalty. This study considers the viewpoint that 'Big Data' could provide more general and accurate statistics and could ultimately promote tailoring services for performances. We examine the first case of Big Data analysis conducted by a credit card company as well as Big Data's characteristics, analytical techniques, and the theoretical background of performing arts consumer analysis. The purpose of this study is to identify the meaning and limitations of the analysis case on performing arts by Big Data and to overcome these limitations. As a result of the case study, incompleteness of credit card data for performance buyers, limits of verification of existing theory, low utilization, consumer propensity and limit of analysis of purchase driver were derived. In addition, as a solution to overcome these problems, it is possible to identify genre and performances, and to collect qualitative information, such as prospectors information, that can identify trends and purchase factors.combination with surveys, and purchase motives through mashups with social data. This research is ultimately the starting point of how the study of performing arts consumers should be done in the Big Data era and what changes should be sought. Based on our research results, we expect more concrete qualitative analysis cases for the development of audiences, and continue developing solutions for Big Data analysis and processing that accurately represent the performing arts market.

• Review of Culture and Economy
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• v.21 no.1
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• pp.21-61
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• 2018

Most of the Korean performing arts markets are not only small but also show their limitations in terms of their role as a platform for the promotion of performing arts and future growth prospects. This study started from the perception that the domestic performing arts markets need the cooperation between the markets in order to overcome the current situation and become the representative performing arts markets of Asia. To do this, we conducted surveys and in-depth interviews on market collaborations with domestic performing arts officials such as PAMS, Jeju Haevichi Art Festival and G-FAFE. For successful inter-market collaboration, the first is to change ideas and thinking about collaborations, second, to select programs suitable for direct supervision and collaboration based on evaluation of comparative advantage, and third, to establish and operate the 'Performing Arts Market Collaboration Promotion Committee(tentative name)'. And the fourth, starting from the sharing of the network that is most required at this stage, it is necessary to develop the sharing of manpower and places through mutual financial support or sharing between the central government, the metropolitan municipalities.

• Korean Institute of Interior Design Journal
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• v.19 no.3
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• pp.180-187
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• 2010

The purpose of this study was to examine the application tendency of the western classical style which appears in contemporary performing arts centers. The types of space in performing arts centers were investigated according to the times. There were somewhat fixed stage and auditorium types for each period ; the ancient times had the arena stage and round auditorium, the Renaissance the proscenium stage and the U-shaped auditorium, the Elizabethan period the thrust stage and polygonal auditorium, and the modern times the proscenium and apron stage, the horseshoe and fan type auditorium. Today since the purposes of performance are multiple, a variety of stage types are applied to each performing arts center. They use various spaces and performances of multiple purposes by moving and transforming the stage and auditorium according to the kinds of performance as a variation of the arena and proscenium stage. Recently there appear complex performing arts centers that can plan performing spaces of diverse sizes and forms to fit the functions of a performance in a large building. Since they put on performances in a large space according to the characteristics of the kind of performance, the intentions and goals of the performance are well delivered to the audience.