Earticle

본 연구는 예술관광객의 신기성 경험이 몰입, 만족, 행동의도에 미치는 영향관계 를 규명하고자 광주비엔날레 관람을 위해 방문한 관광객을 대상으로 실증조사를 실시하였다. 새로움에 대한 갈망은 관광 행동을 결정짓는 특징 중 하나며 이는 예 술관광객에게도 두드러지는 특징이다. 새로움에 대한 욕구와 경험은 신기성 (novelty) 개념으로 논의되고 있으며, 선행연구에서 신기성은 관광행동을 유발하는 요인으로 다루어져 왔다. 분석결과 주관적 신기성, 탐색적 신기성 등 예술관광객의 몰입과 만족에 긍정적 영향을 미치는 것으로 나타났다. 첫째, 신기성 경험과 몰입 과의 영향 관계를 살펴본 결과, 예술이 주는 자극에 의해 자기성찰과정을 거쳐 깨 닫게 되는 주관적 신기성과 작품에 숨겨진 의도나 가치 등 작품성을 탐색하는 과정 에서 경험하는 탐색적 신기성이 몰입과 만족 모두에 정(+)의 영향을 미치는 것으로 나타났다. 반면, 감정적 신기성과 몰입은 부(-)의 상관관계를 가진다. 즉, 감정적 신 기성이 높을수록 몰입도는 떨어지는 것으로 분석되었다. 둘째, 주관적 신기성과 탐 색적 신기성 경험이 만족에 유의한 영향을 미치는 것으로 나타났다. 몰입은 만족에 정(+)의 영향을 미치는 것으로 나타났다. 만족은 행동의도에 정(+)의 영향을 미치는 것으로 나타나 예술을 경험하는 과정에서 형성된 긍정적인 태도가 향후 관광객의 긍정적 행동의도에 영향을 미치고 있음을 확인하였다.

This study conducted an empirical survey on tourists who visited the Gwangju Biennale to investigate the influence of art tourist's novelty experiences on immersion, satisfaction and behavioral intention. The craving for novelty is one of the characteristics that determine tourism behavior, which is a prominent feature of art tourists. novelty refers to the desire and experience of novelty and novelty has been treated as a factor that induces tourism behavior in previous studies. As a result of the analysis, it was found that it affects the immersion and satisfaction of art tourist such as subjective novelty and exploratory novelty. First, as a result of examining the influence relationship between novelty experience and immersion, it was found that subjective novelty realized through introspection process by art and exploratory novelty experienced in exploring workmanship, such as intention or value, have a positive (+) effect on both immersion and satisfaction. On the other hand, emotional novelty and immersion have a negative (-) correlation. In other words, it was analyzed that the higher the emotional novelty, the lower the immersion. Second, it was found that subjective novelty and exploratory novelty experience had a significant effect on satisfaction. Immersion was found to have a positive (+) effect on satisfaction. Satisfaction was found to have a positive (+) effect on behavioral intention, confirming that the positive attitude formed in the process of experiencing art has an effect on the positive behavioral intention of tourists in the future.

본 연구의 목적은 국내 공공예술을 대표하는 행사 중 하나인‘안양공공예술프로 젝트(APAP)’에 대한 사회적 인식 변화를 살펴봄으로써 APAP의 방향성을 모색해 보는 한편, 공공예술의 담론 변화 양상에 따른 향후의 패러다임을 모색하는 데 있 다. 이를 위해 APAP를 준비기, 도입기, 적용기 등 세 시기로 구분하고, 국내 주요 포털 사이트에서 수집된 데이터를 TEXTOM-v.6.0을 활용해 네트워크 및 담론분석, LDA 토픽모델링 분석, 감성분석 등을 실시하였다. 분석 결과, APAP에 대한 사회적 인식은‘새 장르 공공예술’ 개념의 도입에 따라 참여와 소통에 기반한 공동체적 담 론으로 변화하였다. 또한, APAP에 대한 긍정적 인식이 시기가 지남에 따라 소폭 상 승하였는데 이는 APAP가 거버넌스 활동 강화로 지역과 관람객에게 다가갔기 때문 으로 분석되었다. 그러나 최근 들어(적용기)에 들어 국제적인 이슈나 혁신적인 감 성 인식이 줄어든 것으로 보아, APAP의 네트워킹 강화와 국제예술행사에 걸맞는 새로운 담론 제시 기능이 필요한 것으로 판단된다.

The purpose of this study is to find the direction of the Anyang Public Art Project (APAP), one of the most representative events of public art in Korea, by examining the changes in social perception of APAP, and seeking the future paradigm of public art according to the changes in discourse. To this end, we classified APAP into three phases: ‘preparation’, ‘introduction’, and ‘application’, and conducted network and discourse analysis, LDA topic modeling analysis, and sentiment analysis using TEXTOM-v.6.0 on data collected from major domestic portal sites. As a result, social perceptions of APAP changed by a communal discourse based on participation and communication with the introduction of the concept of 'new genre public art'. In addition, positive perceptions of APAP increased slightly over time, which was analyzed as APAP reached out to local communities and visitors by strengthening governance activities. However, the perception of international issues and innovative sensibilities has decreased in recent years, suggesting that APAP needs to strengthen its networking and present a new discourse in line with international art events.

Nowadays, in the cultural tourism industry in China, live-action performances have become a new favorite and are highly supported and sought after by tourists. In 2009, "Tianmen Fox Fairy" emerged and used the narrative and performance techniques of musicals to seamlessly blend the natural landscapes, folk customs, and Hunan culture of Zhangjiajie, bringing a unique feast to the audience. At the same time, through stage design and elements such as music and sound effects, it creates a strong sense of modernity and integrates traditional Chinese opera with Western drama in form. Large-scale mountain and canyon live-action musicals have been performed over a thousand times since their official launch in 2009. With its unique form and content, it has become very popular among tourists visiting Zhangjiajie and has become a must-have project for major travel agencies, winning praises from many experts, scholars, and the general audience. The play shares many similarities with the "Impression Liu Sanjie" directed by Mei Shuaiyuan, as they are both live-action performances set against the backdrop of mountains and rivers and employ a large number of local actors and actresses. This perfect combination of tourism and culture in Zhangjiajie has achieved the goal of perfectly blending the tourism industry and culture in the area. There are statistics showing that since the launch of "Tianmen Fox Fairy," the number of tourists visiting Zhangjiajie and the economic benefits generated from their spending have continued to increase. For the cultural and tourism industry in Zhangjiajie, "Tianmen Fox Fairy" has enriched the cultural and tourism connotations, enhanced the sensory experience for tourists, played a marketing function, and stimulated the improvement of the consumption level of the tourism city and surrounding areas.

如今，在中国文化旅游行业当中，实景演出是一个新宠，也是受到旅游者的支持 以及追捧的对象。2009年，《天门狐仙》横空出世，运用音乐剧的叙事方式和表现手 段，将张家界的自然山水、民俗风情与湖湘文化深入、和谐地融合在一起，给观众带 来了别具一格的盛宴。同时通过舞台布景和音乐音响等元素，使其具有强烈的时代 感，并在形式上将传统戏曲与西方戏剧融合起来。 大型高山峡谷实景音乐剧等，从2009年正式启动至今，已演出千余台。它以其特 有的形式和内容让前往张家界游玩的旅客十分喜爱，也成为各大旅行社必备的项目之 一，成为同时也赢得了众多专家学者及广大观众的赞誉。该剧与梅帅元共同参与导演 《印象·刘三姐》有着许多共同之处，同为山水实景演出，也采用了大量当地人作为 演职人员，使张家界的旅游产业和文化得到完美的结合。达到张家界旅游产业与文化 完美融合的目的。 据数据统计，自《天门狐仙》开演以来，张家界的旅游数量和消费带来的经济收 益在不断的增加。对于张家界文化旅游产业而言，《天门狐仙》产生了丰富文化旅游 的内涵、丰富游客的感官体验、发挥营销功能、刺激旅游城市及周边地区消费水平的 提高的影响。