메타버스 기반 탈춤공연의 구조적 특성과 의미

Abstract

In this article focuses on the metaverse-based Mask Dance <BIBIRUN>, noting its ‘differences’ from traditional Korean Mask dance and examining the characteristics found in its implementation in the virtual world. Considering that the production and discussion of metaverse-based performing arts are in their early stages, and that <Bibirun> is the only example of a metaverse-based Mask Dance in Korea, the discussion was refined by dividing the performers, the audience, and the performance space within the performance. Through this, I derived the artistic meanings of the performers who create new perceptual experiences and artistic expressions between mask dance and digital performance, the audience as participatory producers who play between participation and play and lead the performance on their own, and the space of performance that holds the possibility of extention between the real and the virtual. Metaverse-based mask dance is just beginning to be developed, and there are still elements that need to be improved and supplemented during the commercialization process. Nevertheless, it is significant enough that it has alleviated the myth that it should only be performed offline. In the future, I hope that metaverse-based mask dance will continue to develop qualitatively as an organic and close-knit network that connects a large global fan base, and that they will become the mainstay of Hallyu content by driving virtual globalization alongside offline performances