• 한국산학기술학회논문지
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• 제15권8호
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• pp.4844-4852
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• 2014

해외의 많은 축제들은 '도시이미지 마케팅' 차원에서 기획되는 경향이 짙으며, 우리나라에서도 이러한 추세가 서서히 반영되고 있다. 김천국제가족연극제 역시 대한민국 행복중심도시를 표방하는 김천시의 '도시이미지 마케팅'과 맞닿아 생겨난 축제 가운데 하나이다. 이러한 차원에서 기획된 축제의 대부분은 중도에 흐지부지되는 경우가 많지만 김천국제가족연극제는 타 연극제와의 차별화 전략을 통해 관객 개발에 있어서 관객확보의 성공적 사례로 12회를 이어가고 있다. 본 논문은 김천국제가족연극제의 역사와 현황을 바탕으로 특징과 차별성을 짚어보고 5년 연속 관객점유율 100%을 이어가고 있는 관객개발 방법을 분석하고자 한다. 지역 공연예술축제가 지닌 예술성과 지역성과의 결합을 통해 관객들에게 '보여주는' 간접적 참여에 그치는 연극제가 아니라 관객들이 직접 '만지고 느끼는' 참여 유희성 자발성을 지닌 연극제로서 발돋움함은 당연하다. 이에 김천국제가족연극제의 발전을 위한 개선방안과 과제를 제시하는데 그 의의가 있다.

• 한국식생활문화학회지
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• 제19권6호
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• pp.640-651
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• 2004

The purpose of this research was to investigate the satisfaction of visitors of Kimchi food festival in 1999, 2000, and 2003. This is the longitudinal study on the cultural festival which used Kimchi as the main resource. This study also investigated the possibility of Kimchi festival as a foreign tour product. This study has several important findings including as follows; First, the satisfaction of residents was higher than domestic visitors in most programs. Second, there were many foreign visitors to the festival and the satisfaction of foreign tourists was higher than residents and domestic tourists. More programs for the foreign visitors are recommended to be an international food festival. Third, experience based food tour events were popular. Introducing more experience oriented programs are recommended for this festival Fourth, There should be more improvement on food price and parking.

• 한국경제지리학회지
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• 제10권3호
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• pp.263-280
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• 2007

최근 세계 여러 나라에서 문화 예술 활동의 진흥을 통해 지역경제를 활성화하고, 지역의 정체성을 강화하는 한편, 주민들의 삶의 질을 제고하고자 노력하고 있다. 특히 선진 공업국들은 제조업의 침체로 인해 도시경제가 쇠퇴하고, 도시기반시설이 노후화, 혹은 유휴화되는 상황에 직면하여 문화활동을 진흥하여 그러한 문제를 해결하고자 하고 있다. 본 연구에서 취급하고자 하는 캐나다 온타리오 주의 스트랫포드는 제조업의 침체에 대비하여 이미 1953년부터 셰익스피어 작품을 소재로 매년 연극축제를 개최하여 북미 최고 수준의 극단을 보유하고 연간 약 60만 명의 관객과 200만 명의 관광객을 유치할 수 있게 되었다. 스트랫포드 시는 또한 이 사업을 통해 북미 전체, 혹은 세계적으로 알려졌고, 문화산업 클러스터를 형성하여 지역경제도 활성화시켰다. 본 연구는 스트랫포드의 이러한 성공 사례를 분석하여 한국의 문화산업 정책에 시사하는 바를 도출하는 한편, 문화 예술 활동의 활성화 과정을 유도하는 혁신주체는 무엇인지, 그들간의 관계는 어떻게 설정되었는지를 규명하고자 한다.

• 한국연극학
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• 제48호
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• pp.549-569
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• 2012

Since 1995, the Local autonomy era has opened, local festivals have been increasing throughout the country. Traditional culture festivals are also increasing. Performing traditional culture festivals is effective for maintenance and transmission of traditional culture as well as creation and nurturing of local culture. They are also effective promoting local economy. Depending on realization level of character, place and costume based on historic research, traditional culture festivals are classified as the "Representation event" or the "Reenactment event". But there are two problems. The first is unexacting classification method for festival types made by Central government yearly. The second is unable to meet one of two goals which are protecting traditional culture and stimulating local economy throughout increasing tourists. The purpose of this study is to suggest improvement of classification method for festival types, and to offer two suggestions for ensure successful local festivals. First of all, I suggest advanced classification method for festival types. For more sophisticated collection process of national festival status, local government department should ensure purpose of festivals, and central government department should add 3 steps to existing process. For example professional committee for judgement of festival types should be founded for consulting of local and central government department. The second suggestion is reinforcement of historic research for the Representation of traditional culture event. The representation of traditional culture should focus on protection of tradition, and could be perfect by continuous historic research. The last suggestion is cooperation with local governments each other for the Reenactment of traditional culture event. The Reenactment of traditional culture should focus on promoting local economy by increasing tourists. So local governments who have similar traditional events should cooperate to get preventing loss of resource and overcome weakness of promoting.

• 한국연극학
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• 제52호
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• pp.5-59
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• 2014

This paper investigates the development and aesthetics of Korean political theatre from its quickening period 1920s to democratization era 1990s. Political theatre before 90s developed an antithesis resistant movement toward Korean modern history that had been scattered with suppressing political circumstances such as colonial era and dictatorial government, the movement has powerful activity and social influences. Just like the 20 century political theatre had been quickened under the influence of Marxism at Russia and Germany in 1920s, Korea's political theatre began in socialism theatre movement form around the same time. Proletarian theatre groups had been founded in Japan and Korea, and developed into practical movement with organized connection. However, the political theatre movement in Japanese colonial era was an empty vessel makes great sound but not much accomplishments. Most performance had been canceled or disapproved by suppression or censorship of the Japanese Empire. The political theatre in liberation era was the left drama inherited from Proletarian theatre of the colonial era. Korean Theatre alliance took lead the theatrical world unfold activities based on theatre popularization theory such as 'culture activists' taking a jump up the line and 'independent theatre' peeping into production spot as well as the important event, Independence Movement Day Memorial tournament theatre. Since 1947, US army military government in Korea strongly oppressed the left performances to stop and theatrical movement was ended due to many left theatrical people defection to North Korea. The political theatre in 1960s to 70s the Park regime, developed in dramatically different ways according to orthodox group and group out of power. The political theatre of institutional system handled judgment on sterile people and had indirect political theatre from that took history material and allegory technique because of censorship. In political theatre out of institution, it started outdoor theatre that has modernized traditional performance style and established deep relationship with labor spot and culture movement organizations. Madangguek(Outdoor theatre) is 'Attentive political theatre', satirizing and offending the political and social inconsistencies such as the dictatorial government's oppression and unbalanced distribution, alienation of general people, and foreign powers' pillage sharply as well as laughing at the Establishment with negative characters. The political theatre in 1980s is divided into two categories; political theatre of institutional system and Madangguek. Institutional Political theatre mainly performed in Korea Theatre Festival and the theatre group 'Yeonwoo-Moudae' led political theatre as private theatre company. Madangguek developed into an outdoor theatrical for indoor theatre capturing postcolonial historical view. Yeonwoo-Moudae theatre company produced representative political plays at 80s such as The chronicles of Han's, Birds fly away too, and so on by combining freewheeling play spirit of Madangguek and epic theatre. Political theatre was all the rage since the age of democratization started in 1987 and political materials has been freed from ban. However, political theatre was slowly declined as real socialism was crumbling and postmodernism is becoming the spirit of the times. After 90s, there are no more plays of ideology and propaganda that aim at politicization of theatre. As the age rapidly entered into the age of deideology, political theatre discourse also changed greatly. The concept 'the political' became influential as a new political possibility that stands up to neoliberalism system in the evasion of politics. Rather than reenact political issues, it experiments new political theatre that involves something political by deconstructing and reassigning audience's political sense with provocative forms, staging others and drawing discussion about it.

• 한국연극학
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• 제48호
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• pp.485-507
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• 2012

Parodos, the side entrances to orchestra (acting space), was one of the intrinsic elements for the ancient Greek theatre structure. It is worth noting that parodos was the sole structural component that remained the original form while all the other elements such as orchestra, skene, and theatron experienced drastic or gradual changes in form throughout the passage of time. On the reason for parodo's maintenance of the original form, this study suggests a possibility that parodos could be the most intrinsic among the elements for Greek theatre buildings. For evidence, this paper indicates the historical fact that the procession tradition was the key event in the national or civic festival known as City Dionysia, and that the single-direction passageway, as seen in the Panathenaic Way passing through the City Athens, could be the easiest and most efficient way to realize the cause for the procession tradition that is the citizens' participation and subsequent unification. This study suggests another possibility that the single-direction passageway in the procession could be the archetype of parodos. For evidence, this study finds that this type of passageway was ubiquitous around the City Athens especially in the Agora, the most popular place in the city and the gateway to the processional event for Dionysian Cult as well as the space for the earliest Greek theatricality and, therefore, was familiar to the citizens. From the discussion, this paper argues that the Greek theatre should be the miniature of the Agora in terms of form (single-direction passageway) and function (civic participation and unification), and that parodos was the theatrical version of the processional passageway in the Dionysian Cult. In conclusion, this paper argues that parodos played a double role. It satisfied the theatrical necessity by functioning as the passageway to dramatic action (entrance and exit of actor/chorus) and as the literal door for the entrance of the audience members. At the same time, it satisfied the social cause, that is civic participation and subsequent unification, by functioning as the processional passage to relay the theatre space to civic events for the national religious cult.

• 한국연극학
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• 제48호
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• pp.359-384
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• 2012

The purpose of this study was to explore the theatrical aesthetics of the performances which was produced by the theater director, Yang Jung-Ung. Yang has been one of the most influential directors working in Korea in the last 15 years. He has put up performances all over the world with the theater members from his company called Yohangza, which was founded by him in 1997, and working as the director, portrayed his style of the theatrical aesthetics through the works of its plays and musical products. In 2012, this company performed A Midsummer Night's Dream at Shakespeare's Globe Theatre. A Midsummer Night's Dream was invited to be staged at the Barbican Center in 2006. In the same year, it received the grand prize and the Audience Choice award at the Gdansk International Shakespeare Festival in Poland. The musical products like A Good Woman from Seoul and the modern Opera Wozeck are representative works of Yohangza, which are known for a unique way of exploring the meaning of life. The 2009 plays Hamlet and Peer Gynt represent Yohangza's simpler yet more insightful theatrical style. Peer Gynt, which debuted at the LG Art Center, made headlines for its innovative staging. It received the grand prix, Best Director and Best Stage Art awards at the 2009 Korea Theater Awards. Yohangza's plays show two-side "image-based" works. The company drastically reduced verbal lines and enriched the plays with Korean sentiment and aesthetics, but their scripts contained many poetic lines full of overtones. They showed a theatrical mise-en-scene of images, energetic dance, songs in chorus and percussion. For example, Korean sentiments were subtly blended into the two Shakespeare's plays, A Midsummer Night's Dream and Twelfth Nights. Their performance combines music, mime, song and dance to create an exhilarating adaptation of Shakespeare's inventive and glittering comedy. In addition, the style of Yohangza Theatre Company is a collision of the past and the present: a reworking of existing Korean styles and themes infused with contemporary elements and full of unique exploration in the plays.

• 공연문화연구
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• 제39호
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• pp.609-635
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• 2019

이 글은 제3회 청공축제 경연에 참여한 공식참가작 5편을 분석하여 청소년 관객의 공감 양상을 분석하였다. 이런 분석에 사용한 준거는 공식참가작의 '등장인물과 연기' 그리고 '배경과 주제'였다. 첫째 등장인물은 대체로 청소년인 학생과 학교 밖 청소년이 주인공이었지만, 이와 달리 청소년과 성인의 관계에 초점을 두거나 청년에 주목한 공연도 있었는데, 청소년 관객들은 청소년이 주인공인 공연을 더 좋아했다. 그리고 연기는 신파극보다는 정극을, 정극보다는 뮤지컬을 더 선호했다. 또한 공연에서 다룬 사건의 배경은 청소년 관객과 가까우면 가까울수록 청소년 관객이 공연에 공감하는 정도가 높았고, 주제 또한 청소년들의 관심사와 가까우면 가까울수록 긍정적인 평가를 받았다. 합평회에서 발표된 청소년 평가단의 의견을 종합해 보면, 첫째 관객 참여형 신파극장, '미스터리 엑스'에 관해서는 청소년의 범위를 20대 청년으로 확장하고, 부정적이며 무거운 현실을 재미있고 유익하게 보여준 공연으로 평가했다. 둘째 공감도 높은 반편견 청소년극, '거북이'에 관해서는 나와 다른 청소년의 모습에 대한 편견을 '가방'이라는 상징을 통해 설득력 있게 형상화하였다고 평가했다. 셋째 70년대 시간여행 복고풍의 청소년극, '콩나물 버스'에 관해서는 잘 만들어진 복고주의 청소년극이라고 평가했다. 넷째 관계의 미학을 절제와 상징으로 보여준, '개기월식'에 관해서는 천체들의 관계처럼 인간관계도 서로 비춰주고, 바라보는 것이란 메시지를 잔잔하게 보여 준 화면 구성이 뛰어난 청소년극이라고 평가했다. 다섯째 뮤지컬로 재탄생한, 'B사감과 러브레터'에 관해서는 100년 전 발표된 현진건의 소설을 뮤지컬로 적절하게 각색하였다고 평가했다. 마지막으로 합평회에서 나온 청소년 평가단이 바라는 공연의 특징은 크게 '공감성'과 '교육성'이 높은 공연이었다. 즉, 단순한 볼거리보다는 청소년의 정서와 생각에 공감할 수 있는 공연을 선호했고, 다른 한편 공감을 넘어서서 자기 세계를 벗어나 세상을 넓게 바라볼 수 있는 공연, 편견을 깨는 청소년극을 보고 싶어 했다. 이 연구에서 분석한 청소년극에 관한 청소년 관객의 평가를 참고하여 청소년극을 만든다면 관객들이 더 많이 공감하는 공연을 만들 수 있을 것으로 보인다.

• 디지털융복합연구
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• 제12권4호
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• pp.475-484
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• 2014

이 연구는 거창국제연극제 방문객을 대상으로 설문조사를 실시하여 방문객이 인식하는 거창국제연극제의 만족도와 기여정도에 대해 조사하고 지출비용을 분석하여 경제적 파급효과 분석과 전문가 심층인터뷰 조사를 실시하여 거창국제연극제의 발전방안을 모색하였다. 관람객 인식조사결과 거창국제연극제가 지역발전과 공연예술발전에 기여하고 있으며, 거창을 예술의 도시로 이미지화 하는데 기여하고 있다고 대체로 인식하고 있는 것으로 나타났다. 방문객들은 축제와 공연작품에 대체로 만족하고 있는 것으로 나타났으나 숙박, 교통, 서비스 품질 등에는 만족도가 떨어지는 것으로 분석되었다. 경제적 파급효과는 직접효과는 128,000천 원, 간접효과는 생산 160억 3천8백만 원, 소득 3억 1천9백만 원, 부가가치 75억 4천9백만 원, 수입 19억 2천6백만 원, 조세 7억8천만 원 등으로 분석되었다.

• 영어영문학
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• 제58권4호
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• pp.633-653
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• 2012

This paper discusses the two major Korean Shakespeares, Kim Myung-Gon's King Uru and Oh Tae-Suk's Romeo and Juliet, in answer to the request made by Stanley Wells at the 2006 Craiova Shakespeare Festival: theatre practitioners should have 'something worthwhile to say' before they put something of their own in Shakespeare's place. Kim and Oh, who have won international acclaim for their adaptations, present 'something worthwhile to say' by bringing Shakespeare to the world in the light of traditional Korean astronomy. The star map named 'Cheonsang yeolcha bunya jido,' which was founded in 1395 and designated as the No. 228 National Treasure of Korea in 1985, is employed as a means by which to bring 'something worthwhile to say' to Shakespeare: it works as a symbol of the cosmic power to restore the divided kingdom and strengthen the kingly power in King Uru; its concept of Hyeonmu, the northern seven lodges of the twenty-eight constellations, is associated with the deaths of not only the lovers but also the whole members of their families in Romeo and Juliet. It is representative of the sunny, light and fiery force of yang in King Uru, whereas of the shady, dark and watery force of yin in Romeo and Juliet. Thus these two productions differ in their approaches, although they make the relevance of traditional Korean astronomy recognizable by redrawing the bounds of Shakespearean tragedy genre: King Uru reminds us of the human capacity for self-recovery, while Romeo and Juliet the human capacity for self-destruction.