가치혁신으로 본 태양서커스(Cirque du Soleil)와 우리나라 서커스의 향후 과제

Abstract

Performing arts, which have a long history and tradition, have progressed along with changes of human beings. In modern era, with its multi-media characteristics, dissolution of genres, and popularity gained from the people,its genres have become diversified and in particular, performing art works stressing visual factors based on non-verbal performance have been preferred. Among all these non-verbal performances circus, which has existed from a long time ago, is a genre that has been somewhat neglected due to little perception of people and lack of academic approach. However, Cirque du Soleil, which has loomed large as a representative cultural product of Canada, has attracted attention as a new performing art that has both artistic value and popularity as it has been successful by providing visual entertainment. Also, as it has emerged as a representative case of Blue Oceans of the performing arts, Cirque du Soleil has become equivalent with ‘the Blue Ocean case’, gaining considerable attention from cultural industry, art management, and business management. However, in Korea, circus is still considered a low profile performance. Dong Chun Circus, which was created in 1925, has barely survived, though it has faced close-down several times due to lack of people’s attention and systematic support of the government, workforce shortage, and marketing difficulties. Therefore, it is necessary to diagnose risks of Korean circus and come up with solutions by taking into account of Cirque du Soleil’s success,which has been achieved through value innovation, the core of Blue Ocean strategy.Still, there are limits in studying Korean circus based on the studies on Cirque du Soleil. First, since there are not sufficient studies on circus,references quotated in this article are mainly newspaper articles, rather than academic materials. In addition, in the case of Cirque du Soleil, studies have been carried out in various areas, but studies on Dong Chun Circus are hardly found. Second, another limitation is that Cirque du Soleil and Dong Chun Circus cannot be compared on the same ground with the same standards. That is because it is realistically difficult to apply the success factors of Cirque du Soleil to Dong Chun Circus directly. This article, however, will seek its meaning in that it provides an academic approach to circus which has received little recognition of society and marginalized attention from the academic arena and searches for measures for the development of Korean circus. ☞