한국 뮤지컬 산업의 성장 동력과 그 문제점 - 현대예술극장, 롯데월드 예술극장, 삼성영상사업단 등 대기업 진출 사례를 중심으로

Abstract

This dissertation was written to examine the growth momentum and issues of musical industrialization in Korea. Korean musicals was going through the course of rapidly growth in the late 1980s. With their various forms and natures put on the stage, the audience response increased, and the audience spectrum growing big. And such qualitative as well as quantitative growth of the Korean musicals can be attributable to the entries of domestic conglomerates into the musical performance market. Conglomerates such as the Hyundai, Lotte, and Samsung, with each having its own different strategies and business goals and making huge investments. As musicals proved to be a crowd-drawing undertaking, several department stores, eager to attract customers, immediately moved to construct theaters in their establishments. For example, the Hyundai and Lotte department stores opened theaters where musical productions were presented. the major firm-funded company such as the Hyundai Art Theater continued to stage various productions. In spite of the producer relied on parent firms' sponsorship, offered as a form of corporate's Mecenat activity. The Lotte World Art Theater even attempted to establish itself as a specialized venue for musicals with a resident company, which included recruitment of stage technicians from Broadway. The stable system of the Lotte World Art Theater that building Musical Theater and upbringing program of actors influenced establishment of long-running performance and staying for a long time. In 1996, the Samsung Visual Arts Foundation entered in earnest into the domestic musical business, the huge capital of which had a direct effect on the process of the musical industry such as technology transfer by licensing, production, distribution etc. And this led to the enhanced transparency in production and accounting through reasonable budget planning and operation. This boom in musicals, however, came to a temporary halt with Korea's financial crisis in 1997-1998. The Samsung Visual Arts Foundation, which had supported the production of stage musicals, completely withdrew after two years. The expansion of production scale have been greatly conducive to the inflow of excellent domestic and overseas talents into the Korean musical industry, which provided a platform for the enhanced competitiveness of Korean musical industry and the advancement of its musical planning/production system. This kind of large-scale capital investment was a primordial driver of today's the change in Korean musical Industry.