• (The) Research of the performance art and culture
• /
• no.40
• /
• pp.223-268
• /
• 2020

In contemporary Theatre, the case of inducing direct communication between the audience and the performance is prominent. Especially with the development of digital technology, the audience wants a personalized experience. The emergence of 'immersive Theatre' in this trend has attracted great attention both at home and abroad. In particular, the most important role in the emergence of the concept of 'immersive Theatre' is the British punchdrunk Theatre. Their representative performance began to premiere in London in the UK in 2003 and has expanded to include New York and China in Shanghai and continues to be extremely popular until 2019. In general, a review of existing studies on the role of the audience in shows that the focus is on the participation of the audience. What experience will be given to the audience can not be emphasized in contemporary Theatre. In order to satisfy the diverse needs of the audience, contemporary Theatre are increasingly showing complexity that cannot be explained by any one theory. The same goes for . This is because each audience wants a personalized experience, and there are differences in experience depending on the environment in which the audience also grew up, knowledge, culture, and taste. This study selected Punch Drunk's as a performance that can represent contemporary Theatre, and conducted a study on the role of audience in contemporary Theatre. To this end, we have historically explored past discussions about the role of the audience and discussed the characteristics of the role of the audience in contemporary Theatre. Next, I analyzed in detail the experience of the researcher "He" who watched the performance with the researcher on the role of the audience in . In conclusion, the experience of the audience in is diverse and complex. In other words, the role of the traditional audience in the proscenium play, as well as the audience as a participant in the post-drama play, was also complex in the performance. And this complexity was not a coincidence, but a planning strategy for the Punchdrunk Theatre. Therefore, when discussing the role of the audience in contemporary Theatre, there should be a discussion that clearly sees the complex characteristics of contemporary Theatre through the approach from various perspectives, rather than merely one view of the audience as a participant. something to do.

• Asia Marketing Journal
• /
• v.13 no.2
• /
• pp.27-48
• /
• 2011

The Chinese counterfeits has begun to gain great attention recently because of the drastic increase in its volume. The consumption of counterfeit harms to manufacturer who spend millions of dollars to create and develop new product. The counterfeits in Chinese can cause international dispute and lower national reputation. The purpose of this study were to examine if the buyers of counterfeits tend to care more about interpersonal relationship than non-buyers among Chinese. Data were gathered by surveying Chinese consumer living in Beijing, Shanghai, and Guangzhou metropolitan area using convenient sampling, and 480 questionnaires were used in the statistical analysis. In analyzing data, descriptive statistics, factor analysis, structural equation modeling with AMOS were conducted. The results of this study were follows, first, attitude toward counterfeits was classified into three factors such as interpersonal relationship, perception, and involvement. It is general belief that attitudes toward counterfeits were correlated with on brand attachment, however this study show that the buyers of counterfeits tended to purchase counterfeit goods as more alternatives of genuine(original) product than non-buyers. Perhaps, the buyers of counterfeits tended to have lower consumer ethics than non-buyers because they value counterfeit high. It is generally accepted that both a producer and a buyer violate the laws, but they are rather generous for buyer. The results of this study suggest consumers' attitude towards counterfeit need to be changed, following consumer education and strict law enforcement. Based on these results, global brand marketing strategies for luxury goods were suggested.

• Journal of Global Scholars of Marketing Science
• /
• v.19 no.1
• /
• pp.23-35
• /
• 2009

A hypermarket as the one of the most globally standardized retailing format is also the type of store among various types of stores that the most active in expanding into other foreign markets. Recently, as several Korean retailing companies start to penetrate into Chinese market they differentiate themselves with modern facilities and customers service oriented high-end concept. China and Korea as Far East Asian countries share many common values, however precise and careful analysis should be carried out since there may also be critical differences in socio-economic aspects as well as in consumption patterns due to the level of development stages of retail industry among two countries. Even though precise and careful study is crucial on Chinese retailing market and consumers, none of researches and studies on 'how the quality of service dimensional structure is different between Korea and China', and 'what will be the most important and influential service dimensional factors for Chinese consuers compared to the hypermarkets customers in Korea' in order to improve the level of Chinese consumers satisfaction' have been fulfilled At this point of view, this study uses KD-SQS (Rho Eun Jung & Sir Yong Gu, 2008) which is a measure of Korean hypermarkets service quality to set up a hypothesis on Korean and Chinese consumers, and an empirical analysis is conducted. We try to get the answers about how the comparative importance of Service quality dimensions which decides the level of customer satisfaction is different depending on the cultural dimensions and socio-economic factors among two countries, Korea and China. Based upon the results, we try to give a valuable suggestion of what service dimensional factors should be reinforced to improve the level of CS in Chinese retailing market. Hypotheses for this study are as follows : H1. Each dimension of Service Quality significantly affects the level of CS H2. The effect of 'Basic Benefit' in service quality dimensions on the level of CS is greater in China than in Korea H3. The effect of 'Promotion' in service quality dimensions on the level of CS is greater in China than in Korea H4. The effect of 'Physical Aspects'in service quality dimensions on the level of CS is greater in Korea than in China. H5. The effect of 'Personal Interaction' in service quality dimensions on the level of CS is greater in China than in Korea H6. The effect of 'Policy' in service quality dimensions on the level of CS will be greater in Korean than in China H7. The effect of additional convenience in service quality dimensions on the level of CS will be greater in Korean than in China. More than 1,100 data were collected directly from the surveys of Chinese and Korean consumers in order to verify the hypotheses above. In Korea, stores which have floor space of over $9,000m^2$and opened later than year 2000 were selected for the samples, and thus Gayang, Wolgye, Sangbong, Eunpyeong, Suh-Suwon, Gojan stores and their customers were surveyed. In China, notable differences in the income levels and consumer behaviors between cities and regions were considered, and thus the research area was limited to the stores only in Shanghai. 6 stores which have the size of over $6,000m^2$ and opened later than 2000, such as Ruihong, Intu, Mudanjang, Sanrin, Raosimon, and Ranchao stores were selected for the survey. SPSS 12.0 and AMOS 7.0 were used as statistical tools, and exploratory factor analysis, confirmatory factor analysis, and multi-group analysis were conducted. In order to carry out a multi group analysis that decides whether the structure variables which shows the different effects of 6 service dimensions in Korean and Chinese groups is statistically valid, configural invariance, metric invariance, and structural invariance are tested in order. At the results of the tests, 3 out of 7 hypotheses were supported and other 4 hypotheses were denied. According to the study, 4 dimensions (Basic Benefit, Physical Environment, Policy, and additional convenience) were positively correlated with CS in Korea, and 3 dimensions (i.e. basic benefit, policy, additional convenience) were significant in China. However, the significance of the service-dimensions was turned out to be partially different in Korea and China. The Basic Benefit is more influential in deciding the level of CS in china than Korea, however Physical Aspect is more important factor in Korea. 'Policy dimension' did not make significant difference between two countries. In the 'additional convenience dimension', the differences in 'socio-economic factors' than in'cultural background' were considered as more important in Chinese consumers than Korean. Overall, the improvement of Service quality will be crucial factors to increase the level of CS in Chinese market same as Korean market. In addition, more emphases need to be placed on the service qualities of 'Basic Benefit' and 'additional convenience' dimensions in China. In particular, 'low price' and 'product diversity' that constitute 'Basic Benefit' are proved to be comparatively disadvantageous and weak points of Korean companies compared to global players, and thus the prompt strengthening those dimensions would be urgent for Korean retailers. Moreover, additional conveniences such as various tenants and complex service and entertaining area will be more important in China than in Korea. Besides, Applying advanced Korean Hypermaret`s customer policy to Chinese consumers will help to get higher reliability and to differentiate themselves to other competitors. However, as personal interaction, physical aspect, promotions were proved as not significant for the level of CS in China, Korean companies need to reconsider the priority order of resource allocations when they tap into Chinese market.

• Korean Journal of Heritage: History & Science
• /
• v.51 no.4
• /
• pp.4-23
• /
• 2018

Seo Byeong-o (徐丙五, 1862-1936) played a central role in the formation of the Daegu artistic community-which advocated artistic styles combining poetry, calligraphy and painting-during the Japanese colonial period, when the introduction of the Western concept of 'art' led to the adoption of Japanese and Western styles of painting in Korea. Seo first entered the world of calligraphy and painting after meeting Lee Ha-eung (李昰應, 1820-1898) in 1879, but his career as a scholar-artist only began in earnest after Korea was annexed by Japan in 1910. Seo's oeuvre can be broadly divided into three periods. In his initial period of learning, from 1879 to 1897, his artistic activity was largely confined to copying works from Chinese painting albums and painting works in the "Four Gentlemen" genre, influenced by the work of Lee Ha-eung, in his spare time. This may have been because Seo's principal aim at this time was to further his career as a government official. His subsequent period of development, which lasted from 1898 until 1920, saw him play a leading social role in such areas as the patriotic enlightenment movement until 1910, after which he reoriented his life to become a scholar-artist. During this period, Seo explored new styles based on the orchid paintings of Min Yeong-ik (閔泳翊, 1860-1914), whom he met during his second trip to Shanghai, and on the bamboo paintings of Chinese artist Pu Hua (蒲華, 1830-1911). At the same time, he painted in various genres including landscapes, flowers, and gimyeong jeolji (器皿折枝; still life with vessels and flowers). In his final mature period, from 1921 to 1936, Seo divided his time between Daegu and Seoul, becoming a highly active calligrapher and painter in Korea's modern art community. By this time his unique personal style, characterized by broad brush strokes and the use of abundant ink in orchid and bamboo paintings, was fully formed. Records on, and extant works from, Seo's early period are particularly rare, thus confining knowledge of his artistic activities and painting style largely to the realm of speculation. In this respect, eleven recently revealed nanjukseok (蘭竹石圖; orchid, bamboo and rock) paintings, produced by Seo in 1889, provide important clues about the origins and standards of his early-period painting style. This study uses a comparative analysis to confirm that Seo's orchid paintings show the influence of the early gunran (群蘭圖; orchid) and seongnan (石蘭圖; rock and orchid) paintings produced by Lee Ha-eung before his arrest by Qing troops in July 1882. Seo's bamboo paintings appear to show both that he adopted the style of Zheng Xie (鄭燮, 1693-1765) of the Yangzhou School (揚州畵派), a style widely known in Seoul from the late eighteenth century onward, and of Heo Ryeon (許鍊, 1809-1892), a student of Joseon artist Kim Jeong-hui (金正喜,1786-1856), and that he attempted to apply a modified version of Lee Ha-eung's seongnan painting technique. It was not possible to find other works by Seo evincing a direct relationship with the curious rocks depicted in his 1889 paintings, but I contend that they show the influence of both the late-nineteenth-century-Qing rock painter Zhou Tang (周棠, 1806-1876) and the curious rock paintings of the middle-class Joseon artist Jeong Hak-gyo (丁學敎, 1832-1914). In conclusion, this study asserts that, for his 1889 nanjukseok paintings, Seo Byeong-o adopted the styles of contemporary painters such as Heo Ryeon and Jeong Hak-gyo, whom he met during his early period at the Unhyeongung through his connection with its occupant, Lee Ha-eung, and those of artists such as Zheng Xie and Zhou Tang, whose works he was able to directly observe in Korea.