포스트 코로나 시대 중국 공연예술 패러다임의 변화 — 상하이를 중심으로

Abstract

In the midst of confusion due to the COVID-19 pandemic, the damage to the performance industries, which emphasizes realism and experience, was severe. Countries have used various crisis managements to protect own people from the epidemic and minimize damage to the performance industries. Among them, an art readiness mechanism, especially Reactive Crisis Management, was presented in Chinese academia, aiming to build a new order to increase the responsiveness of individuals, organizations, and industries in the arts field and manage crises. In other words, for the final goal of Resilience, economic relief for artists and art organizations and integration of various resources are implemented, and as sub-methods, immediate response and short-term recovery in case of crisis situation. Based on this mechanism, this paper examines the paradigm shift in the performing arts, focusing on the current situation in Shanghai, where cultural and artistic exchanges are highly recommended in China. First of all, for response and short-term recovery, the Chinese government has launched policies related to improving performance business procedures, simplifying agency registration, limiting the number of seats for performances, and encouraging online performances. On basis of the policy environment, small theaters and new space projects, centered on Shanghai, began to establish themselves as trends in the performance industry. In addition, visualization of performances, previously used as an auxiliary means, has become a cultural form as ‘online performance’, and AI concerts using cutting-edge science and technology and immersive performances with game elements have gradually permeated cultural life. This paradigm shift in the performing arts has had a positive impact on the cultural industry to establish a current safety net and prepare for future crises. However, there are still issues to be resolved, such as the copyright of online content. In conclusion, Resilience as a “bouncing forward” that builds a system that can complement and improve the weaknesses of the cultural and arts industry revealed by the COVID crisis will be needed.