이머시브 공연의 관객참여 정도가 관람만족도에 미치는 영향 연구

Abstract

본 논문은 코로나19 팬데믹 이후 공연 관람 기회가 현저히 줄어들어 위축되 었던 이머시브 공연에 관심을 두었고, 다페르튜토 쿼드(Dappertutto Quad) 이 머시브 공연 사례를 중심으로 관객참여 정도가 관람만족도에 미치는 영향에 주목하였다. 이머시브 공연은 관찰자 입장의 관객을 공연 안으로 끌어들여 공 연의 일부분으로 참여시켜 관객의 역할을 확장 시킨다. 기존 관람 공연에서 벗어나 비선형적인 관객의 동선과 무대 객석의 경계가 모호해지면서 관람 범 위가 확장되어 진다. 최근 관객들은 공연에 대한 인식 주체성이 높아지며, 스스로 능동적인 관객 이 되어 공연에 곧 잘 참여한다. 또한, SNS를 통해 자아를 표현하고 말하며 즉각적인 소통을 하며 직접적 경험이 부재한 당대의 문화 속에서 작품 완성도 에 중요한 요소가 관객참여인 이머시브 공연이 활성화되는 것은 당연한 현상 이다. 이러한 이머시브 공연 인식 아래 본 연구자는 다페르튜토 쿼드 공연을 증심으로 첫째, 이머시브 공연을 한 번 이상 경험한 사람과 경험이 없는 사람 사이에 관객참여의 차이점 둘째, 이머시브 공연 관객참여가 공연만족도에 미 치는 영향셋째, 관객참여가 이머시브 공연에 대한 인식변화에 미치는 영향에 대한 연구문제를 생각하였고, 다페르튜토 쿼드 이머시브 공연 관람객의 공연 참여에서 적극성, 비적극성, 긍정적, 부정적, 공연 내 몇 회의 움직임, 주관적 체험, 수동성과 능동성을 설문조사로 진행하며 선행연구, 전문가 포커스그룹 인터뷰의 연구방법을 통해 다음과 같은 결론을 도출하였다. 다페르튜토 쿼드 공연에서 이머시브 공연의 관람 경험 유무에 따른 관객참여 도의 차이가 없었고, 이머시브 공연의 긍정적, 부정적 관객참여는 관람만족도 에 영향을 끼쳤다. 또한, 이머시브 부정적 관객참여가 이머시브 공연에 대한 인식변화에 영향을 미쳤으며 특히 공연에 대한 거부감을 받으며 내용이 난해 하다고 느껴질 때 공연의 인식이 나빠짐을 알 수 있었다. 이렇듯 자극적인 콘 텐츠가 난무하는 현 시대에 공연의 내용이 난해하고 이해하기 어려울 때 지적 활동에 대한 거부감을 느끼며 공연에 대한 부정적인 인식이 생기는 것은 당연 한 귀결이다. 공연을 해석하고 받아들이는 것은 관객 개개인의 몫이며 개인 취향인 것 이다. 이머시브 공연에서는 관객의 욕구를 충족시킬 수 있는 공연 의 방향성을 잡는 것이 중요하다. 또한, 타겟층과 대중성을 고려하여 공연의 새롭고 다양한 참여패턴과 세밀한 공연설계가 이루어져야 하고 부정적 관객참 여의 항목을 중심적으로 관객을 관리하고 파악한다면 이머시브 공연 인식 변 화의 긍정적인 면을 높일 수 있을 것으로 판단된다. 이머시브 공연의 시대적 동향의 흐름을 재검토하여 추후 이머시브 공연의 다양성이 창성하고 지속가능 발전성에대한 기반이 될 수 있기를 기대한다.;After an overview of the theoretical background of immersive performances, this paper analyzes the impact of audience participation in immersive performances on audience satisfaction through a case study of the Dafertutto Quad performance, focusing on three research questions: first, the difference in audience participation according to experience in immersive performances; second, the extent to which audience participation in immersive performances affects performance satisfaction; and third, the extent to which audience participation affects changes in perceptions of immersive performances. In the Dafferentuto Quad performance, first, there was no difference in audience participation between those who had experienced immersive performances and those who had not. Therefore, there was no difference in audience participation between those who had experienced immersive performances and those who had not. Second, positive and negative audience participation in an immersive performance affects audience satisfaction, with a 0.036 increase in audience satisfaction for a 1-unit increase in positive audience participation and a -0.009 decrease in audience satisfaction for a 1-unit increase in negative audience participation. Third, it was found that negative audience participation in immersive affects the change in perception of immersive performances, and the change in perception of immersive performances decreases by -0.12 when negative participation increases by 1 unit. In particular, the negative perception of immersive performances was highest when negative audience participation caused rejection of the performance and the content of the performance was felt to be difficult. Based on the results, we first disclose the limitations of this study in that we conducted a survey with a small number of performing arts majors to conduct an in-depth study and that the case performance, Dafferentuto Quad, was an experimental performance. The performance case of this study, Dafertutto Quad, is based on philosophical content. The program book for the performance suggests that it is unique, dreamy, experimental, and imaginative. Considering this, the audience may be curious, but it is difficult to understand the overall story of the performance and is not ready to accept the content, so the audience wishes that a booklet with a detailed explanation of the content of the performance was provided. This leads to a negative perception, which means that you need to understand your target audience well and consider additional factors such as a booklet that can support the performance in consideration of popularity. In the current era of one-time stimulating content, when the content of the performance is difficult to understand, it is a natural consequence that people feel rejected by intellectual activities and have a negative perception of the performance. Performance is a highly volatile field that is subject to people's different tastes. Based on this, it is believed that new and creative forms of performance are needed by studying various audience participation patterns to analyze and identify audience participation patterns to elicit high positive participation and low negative participation, and a mature response is needed to move forward in parallel with art and audiences after identifying the trends of the times. As a new genre that focuses on audiences, it suggests that rather than aiming for dramatic success at once, the priority should be to expand the stable and systematic development of the immersive performance market by applying the success factors of various genres of performance works that have been trusted by audiences with high viewing satisfaction. The contribution of audience participation to performance satisfaction varies depending on the content of the performance, but as it is a genre where audience experience is essential, it is necessary to focus on new audience participation and experience, which is directly related to audience satisfaction and has a high correlation. The role of the audience in an immersive performance is crucial. If we consider the synergy between the audience and other audiences, we can see the active participation process of other audiences, which can be imitated by other audiences, or we can observe such audiences in the connection line of the work. Furthermore, through solidarity with the audience, the atmosphere of the performance can be expanded and the audience can expand their own world of immersion. They can also confirm each other's existence as a community. Next, spatiality also plays an important role in immersive performances. Finding a new space and creating a performance that fits the space is one of the things to consider. Finally, simply increasing audience participation is not a way to develop immersive performances. Unless it is a government-funded program, there is a limit to how much it costs to produce an immersive performance with private funds. Since the cost per performance is very high compared to other performances, if it is only produced through a small number of performances in a short period of time due to curiosity and unstructured performances, the perception of immersive performances may be significantly lowered due to negative audience participation rates. Today's audiences have high standards, and it's important to be systematic and meticulous in the production of an immersive performance, even if it takes a long time. We look forward to the future development of immersive performances that deliberate and coordinate at the boundary between art and audience, rather than performing for mere topicality and commercialization. I am looking forward to various creative immersive performances in the future. We believe that audience research for immersive performances should be continued in consideration of the trends of the times in order to identify the cultural needs of contemporary audiences and the audience's consumer base to discover different cultural demand groups.