무용공연에 관한 관객감동의 개념 정립에 관한 연구
The Study for a concept of Audience Surprise
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본 논문은 무용공연에서 관객감동의 개념 정립을 위한 문헌 연구이다. 관객감동의 개념을 정리하기 위해서 우선은 고객만족의 개념에 대해 정리를 한 후에 이를 기반으로 무용 관객감동의 개념을 연구하였다. 무용공연에서 감동은 유형의 제품에 대한 만족과는 여러 점에서 다르다고 할 수 있다. 그 이유는 무용공연은 형태가 없고, 표준화가 불가능하고, 공연과 감상이 동시에 이루어지기 때문이다. 또한 무용공연은 관객이 관람 이전에는 작품에 대한 기대가 높은 반면 평가가 불가능하고, 관람을 한 후에야 평가가 가능한 체험에 기초하고 있다. 한국의 무용공연계는 자본 형성이 되지 못하고 있고 무용 공연에서는 거의 모든 경우가 적자를 면하고 있지 못하는 상황이다. 이런 상황에서 본 연구가 필요한 이유는 첫째는, 무용공연에서 일차적인 목표인 관객의 확장을 위해 관객에게 감동을 주기 위한 노력이 필요하다는 점이다. 두 번째는 무용 공연에서 관객의 감동에 대한 연구는 공연을 보다 성공적으로 이루게 하는 데 필요한 자료를 제공한다. 세 번째는 무용공연에서의 관객감동 개념은 경영학에서의 고객만족의 개념과는 차이를 보이기 때문에 무용학계에서 관객감동에 대한 연구가 필요하다는 점이다. 무용공연에서 관객의 감동을 연구하기 위해서는 정성적 연구뿐만이 아니라 관객감동에 대한 실증 연구가 이어져야 될 것이다.
Abstract
This research explores other preceding studies, and proposes a concept of customer satisfaction. Using this as a foundation, I have researched the concept of Audience Surprise. I investigated the conceptual and operational definitions of customer satisfaction proposed in preceding research, and used this as a foundation to conceptually organize the theory of Audience Surprise within dance on a more concrete level. In a dance performance, the process of assessing emotions can be different in many ways to the process of assessing categories of products. This is because a dance performance has no form, is impossible to standardize, and performance and appreciation is achieved simultaneously. Furthermore, dance performances are based on an experience where it is impossible to assess a piece without viewing the performance, whereas the audience will harbour high expectations directly before a performance. In the academic world of dance, the fact is that research about audiences has not really developed much. The main reason for this is because dance performances are often enacted due to artists’ desires for self-expression, as opposed to artists believing that they are providing something for the audience. Furthermore, in the field of dance studies, there is plenty of research that has progressed on the dance performances themselves, but compared to this, there is an inadequate state of research about the audience. This research has been developed due to a realization that defining the concepts of customer satisfaction and audience emotions is the starting point for substantiated research on audience surprise, and to establish a theoretical foundation regarding this. Henceforth, the significance of this research can be said to be to provide a theoretical foundation for a substantiated research on audience surprise in dance.
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