Earticle

최근 국내 공연예술 시장의 규모가 전반적으로 확대되고 있는 가운데, 뮤지컬 공연은 가파르게 성장하는 반면, 오페라 공연은 정체가 지속되고 있다. 국내 뮤지컬은 2001년 <오페라의 유령>의 성공 이후 급속히 성장하여 공연예술 시장의 대표적인 문화 콘텐츠로 자리 잡았다. 그러나 뮤지컬의 모체가 되는 오페라는 높은 예술성을 지닌 장르임에도 불구하고 공연시장 점유율에서 최하위를 면치 못하고 있다. 뮤지컬이 차지하는 압도적인 비중은 국내 뮤지컬이 대중의 요구에 민감하게 반응하며 발전한 결과이다. 최근 세계 공연계에서는 뮤지컬과 팝(Pop)을 융·복합시킨 주크박스 뮤지컬(Jukebox Musical)이 인기를 끌고 있으며, 국내에서도 라이선스 주크박스 뮤지컬의 흥행을 시작으로 창작 주크박스 뮤지컬의 제작과 성공이 잇따르고 있다. 이러한 주크박스 뮤지컬의 형식은 인접한 다른 공연예술 장르에서 활용됨으로써 또 다른 융·복합 작품의 재생산으로 이어지고 있기도 하다. 오페라 분야에서도 주크박스 뮤지컬 형식을 차용한 콘텐츠 개발 시도가 이어지고 있지만, 아직 미숙한 단계이다. 주크박스 형식의 차용이 오페라 공연의 부흥으로 이어지려면, 이러한 작업의 결과로 만들어진 작품이 기존의 오페라 관객만의 관심대상이 되는 것을 넘어서, 새로운 관객 개발로까지 나아갈 수 있어야 한다. 이를 위해서는 주크박스 뮤지컬의 성공요인을 살펴보고 오페라 작품에 맞게 응용할 필요가 있으며, 이를 통해 오페라에 대한 대중의 관심을 환기하고 이목을 집중시킬 수 있도록 노력해야 한다. 이는 전통적인 순수예술 장르에 속하는 오페라가 타 장르의 형식에 대한 활용 등을 통해 새롭게 재탄생할 필요가 있음을 의미한다. 이처럼 오페라의 대중화 방안에 대한 연구는 국내 오페라 분야의 활성화를 모색하고자 하는 노력의 일환이며, 현재 일부 장르에 편중되어 있는 국내 공연예술 분야의 균형 있는 발전에도 도움이 될 것이다.

The local performing arts market has been growing continuously, posting sales of over 800 billion won for the past two consecutive years. The revenue from sales of performance tickets accounts for about half of the total performance market, with the revenue from ticket sales for the 2018 musical performance accounting for 64.1 percent of the total performance ticket sales revenue, while the revenue from the opera’s performance ticket sales accounts for only 1.5 percent. Local musicals have grown rapidly since the success of the Phantom of the Opera in 2001, becoming a representative cultural content in the performing arts market. On the other hand, the opera, which becomes the parent of a musical, remains at the bottom of the performance market share despite its high-quality music and artistry. The overwhelming proportion of musicals is the result of the development of local musicals, which are sensitive to public demand. In particular, Jukebox Musical is gaining popularity in the world's performance industry recently, and it has been leading to the production and success of creative jukebox musicals in Korea, starting with the success of licensed jukebox musicals. In particular, Jukebox Musical, which combines musical and pop, has gained popularity and dominated the stage of performing arts. The performance of these jukebox musicals is being mixed in a variety of ways by borrowing from other adjacent genres. The opera industry is also trying to develop content that borrows the form of a jukebox musical, but it is still immature. The development of opera works through the use of jukeboxes should go beyond being the focus of existing opera audiences, and be the foundation of the work that enables the development of new audiences. To this end, it is necessary to focus public attention on the opera by seeking out the success factors of the jukebox musical and applying it to fit the opera’s works. This could be a kind of trigger that leads the public to interest and enjoyment in opera. The study for popularizing opera sets the foundation on which the local opera sector will be activated in the future, and serves as an important foundation for balanced development in the performing arts sector.

본 연구는 지난 5년간 국내 5대 극장에서 공연된 오페라의 레퍼토리를 기초로 오페라 공연 현황을 분석하고, 그에 따른 레퍼토리의 확장에 관한 발전방안을 제언하는 데 그 목적을 둔다. 5대 극장별 공연 점유율 현황, 작품별 재연횟수, 관객 점유율 현황을 분석한 결과, 평균 공연 일수가 연간 24.9일(약 25일)로 나타났으며, 공연 횟수는 27.76회(약 28회)로 매우 낮은 수치를 보여주고 있었다. 반면 관객점유율은 74%로 높은 수치를 나타내었다. 5년간 재연된 작품을 분석한 결과, 첫째로 가장 많이 공연되고 선호하는 작품은 ‘베르디’, ‘푸치니’, ‘모차르트’ 등 작곡가의 레퍼토리였다. 둘째로 17회 공연된 ‘라트라비아타’와 16회 ‘라보엠’, 12회 ‘마술피리’, 10회 공연된 ‘카르멘’, ‘토스카’, ‘사랑의 묘약’을 제외한 나머지 작품들은 최근 5년간 10회 미만의 재연 숫자를 보여주었다. 연구결과 대체적으로 대중에게 익숙한 작품들이 객석점유율과 재연횟수가 높은 것을 알 수 있었다. 그러므로 작품개발을 통해 레퍼토리의 다양함과 시대의 변화에 따른 새로운 접근방법이 필요하다. 국내 오페라 공연의 전문성 확보와 대중적 활성화를 위한 국가적 투자와 오페라 단체의 노력이 절실히 필요하다.

The aim of this research is to show how the genre and the themes of opera repertoires reflect their diversity and popularity by analyzing the opera performances based on the repertoires of operas which have been performed at five of the major theaters in Korea in the last five years. The share of the performances of each of the five theaters, the number of encores of each work, and the attendance of the audiences were analyzed. It shows relatively low figures of 24.9 performance days out of a year on average, for an average of 27.76 performances. Compared to the low number of performances, the audience attendance rate was high, at an average of 74 percent. The most frequently performed repertoires for the last 5 years were limited to those of Verdi, Puccini, and Mozart. Many works have been presented again less than 10 times in the last 5 years, except La Traviata which has been performed 17 times, La Boheme 16 times, The Magic Flute 12 times, Carmen, Tosca, and L’Elisir D’amore 10 times. According to data from the five major theaters, the works that the public are acquainted with more frequently have the higher percentage of attendance and the more frequent encores. We desperately need more diversity in the development of new opera repertoires and more accessibility to opera performances for the general public. Through the efforts of the opera community and national support, opera performances will be higher quality and more stimulating to audiences of all ages.

오늘날 오페라는 동서양을 막론하고 대부분 적자를 면치 못하고 있으며 관람객층이 갈수록 고령화되고 있다. 그럼에도 불구하고 국내에서는 창작오페라 제작을 중심으로 한 발전 노력이 활발한 편이며 오페라에 대한 일반의 인식 또한 변화가 관찰되고 있다. 이에 본 연구는 오페라에 대한 사회 일반의 인식 변화 분석을 통해 한국 오페라의 향후 방향성을 가늠해 보고자 하였다. 이를 위해 2001년부터 2021년까지 10년 단위로 총 20 년 간의 오페라 인식에 대한 언어 네트워크 분석을 시행하였다. 분석결과, 2021년 오페 라에 대한 관객의 긍정적 인식은 2001년과 2011년에 비하여 소폭 상승하였다. 또한 세 부단어감성분석에서 오페라가 점진적이고 친근하게 대중에게 다가가고 있는 것을 확 인하였다. 아울러 오페라 기획 시 대중매체에 노출된 아리아를 중심으로 비교적 대중 적이고 친근한 작품을 선택하려는 경향도 나타났다. 이밖에 드라마적 요소를 가미한 오페라의 대두를 확인하였고, ‘콘서트 오페라와 시즌 오페라 개최’, ‘한국창작오페라의 활성화 가능성’ 등의 토픽을 통해 ‘한국창작오페라의 대중화 및 확장 가능성’을 확인하였다.

Today, most operas, regardless of the East and the West, are in the red, and the audience is aging. Nevertheless, in Korea, development efforts centered on creative opera production are active, and changes in the general perception of opera are also being observed. Therefore, this study attempted to estimate the future direction of Korean opera through the analysis of changes in the perception of opera in general society. To this end, a language network analysis of opera perception was conducted for a total of 20 years on a 10-year basis from 2001 to 2021. As a result of the analysis, the audience’s positive perception of opera in 2021 slightly increased compared to 2001 and 2011. In addition, detailed word sensitivity analysis confirmed that the opera was gradually and friendly approaching the public. In addition, there was a tendency to choose relatively popular and friendly works centered on aria exposed to mass media during opera planning. In addition, the rise of operas with dramatic elements was confirmed, and the popularization and expansion of Korean creative operas were confirmed through topics such as “Concert Opera and Season Opera Held” and “Possibility of Activating Korean Creative Opera”.

오늘날 오페라는 동서양을 막론하고 대부분 적자를 면치 못하고 있으며 관람객층이 갈수록 고령화되고 있다. 그럼에도 불구하고 국내에서는 창작오페라 제작을 중심으로 한 발전 노력이 활발한 편이며 오페라에 대한 일반의 인식 또한 변화가 관찰되고 있다. 이에 본 연구는 오페라에 대한 사회 일반의 인식 변화 분석을 통해 한국 오페라의 향후 방향성을 가늠해 보고자 하였다. 이를 위해 2001년부터 2021년까지 10년 단위로 총 20 년 간의 오페라 인식에 대한 언어 네트워크 분석을 시행하였다. 분석결과, 2021년 오페 라에 대한 관객의 긍정적 인식은 2001년과 2011년에 비하여 소폭 상승하였다. 또한 세 부단어감성분석에서 오페라가 점진적이고 친근하게 대중에게 다가가고 있는 것을 확 인하였다. 아울러 오페라 기획 시 대중매체에 노출된 아리아를 중심으로 비교적 대중 적이고 친근한 작품을 선택하려는 경향도 나타났다. 이밖에 드라마적 요소를 가미한 오페라의 대두를 확인하였고, ‘콘서트 오페라와 시즌 오페라 개최’, ‘한국창작오페라의 활성화 가능성’ 등의 토픽을 통해 ‘한국창작오페라의 대중화 및 확장 가능성’을 확인하 였다.

Today, most operas, regardless of the East and the West, are in the red, and the audience is aging. Nevertheless, in Korea, development efforts centered on creative opera production are active, and changes in the general perception of opera are also being observed. Therefore, this study attempted to estimate the future direction of Korean opera through the analysis of changes in the perception of opera in general society. To this end, a language network analysis of opera perception was conducted for a total of 20 years on a 10-year basis from 2001 to 2021. As a result of the analysis, the audience’s positive perception of opera in 2021 slightly increased compared to 2001 and 2011. In addition, detailed word sensitivity analysis confirmed that the opera was gradually and friendly approaching the public. In addition, there was a tendency to choose relatively popular and friendly works centered on aria exposed to mass media during opera planning. In addition, the rise of operas with dramatic elements was confirmed, and the popularization and expansion of Korean creative operas were confirmed through topics such as “Concert Opera and Season Opera Held” and “Possibility of Activating Korean Creative Opera”.

오늘날 전 세계의 많은 국가들에서 문화와 예술의 정서적인 힘을 외교정책의 수립에 적극 적으로 반영함에 따라 공공외교의 성격은 다변화되고 있다. 그 가운데 공연예술이라는 매체 는 그 즉각적이면서 공감각적인 성격으로 인해 외교의 무대에서 남다른 의미와 효과를 발휘 한다. 본고에서는 그 특수한 사례로서 2023년 일본과 베트남의 수교 50주년을 맞아 양국에서 기획한 각종 기념행사들을 검토하고자 하며, 이를 위해 일본의 전통예능과 서양의 고전예술 의 크게 두 개의 분야를 중심으로 하여 구체적인 공연의 내용에 관해 살펴보고, 동시대의 신 자유주의적이며 패권주의적인 국제 질서의 역학관계를 중심으로 이들 공연이 지니는 정치학 적 의미를 살펴보고자 한다. 본 논문의 목표는 일본과 베트남 양국의 50주년 수교기념 공연 을 통해 문화외교의 동시대적 양상을 규명하고, 2차 세계대전 이후의 새로운 역사 쓰기의 장 으로서 퍼포먼스의 정치학에 대해 살펴보는 데 있다.

Nowadays, the characteristics of public diplomacy is diversifying, as many countries around the world actively reflect the emotional power of culture and art in establishing their foreign policies. Amongst those cases, <Performing Arts> exerts unique meanings and effects on the stage of diplomacy due to its immediate and synesthetic nature. In this article, I will review various commemorative events planned by Japan and Vietnam in 2023 to celebrate the 50th anniversary of the establishment of diplomatic relations between those nations. For the analysis, I will examine the specific contents of performances, focusing on two fields: Japanese traditional performing arts and Western classical arts. At the same time, I will examine the political meaning of those performances, focusing on the dynamics of the contemporary neo–liberal and hegemonic international order. The object of this article is to identify the contemporary aspects of cultural diplomacy through a performance commemorating the establishment of diplomatic relations between Japan and Vietnam, and to present the performance as a ‘ground for new history writing' to correct the ‘negative past’ after World War II.

In this study, five works were produced that creatively and artistically expressed the capstone design major classes of students attending beauty universities using opera stage makeup as mannequins. As a research method, the team members analyzed the characters of “Rigoletto” and composed them into language scales, and the characters of “Rigoletto,” “Zilda,” “Magdalena,” “Mantova,” and “Spalapecili” were set as mannequins. This developed and operated capstone design education, and analyzed five basic abilities, including communication skills, problem-solving skills, self-development skills, information capability, and technology capabilities, by comparing the results of the pre- and post-self-diagnosis checklist. The production process was carried out in five stages. It consists of selecting opera works, identifying the characteristics of the times and actors, planning illustrations, imaging, selecting tools and materials, and producing works. Through the operational case of the opera “Rigoletto” Capstone Design, it proposed an excellent model for capstone design in the field of production, presented the direction of capstone design classes, and proposed fostering industry-academic customized talent with creative and voluntary problem-solving skills.

本研究基于顶点设计为美容学院在校生创作了五部融合创造性和艺术性的歌剧舞台化 妆作品, 并表现于人体模型上. 研究方法为如下. 首先, 团队成员对􀕾弄臣􀕿的五个角色进 行了分析, 包括“利哥莱托”, “吉尔达”, “玛德莱娜”,. 为了开展运营顶点设计教育并分析其有效性, 本研究针对沟通能力, 解决问题能力, 自我发展能力, 信息能力, 技术能力等五种基本能力的前后自我诊断检查表单的结果进行了比较分析. 制作过程 共分为五个阶段, 包括选择歌剧作品, 了解时代和演员的个性, 构思插图, 创作形象, 选择工具 和材料, 制作作品. 本研究通过歌剧《弄臣》的顶点设计运营案例, 提出了作品制作领域优秀 顶点设计模式, 以及顶点设计的课程方向, 旨在于培养具有创新能力和解决问题能力的产学 研一体化人才, 并期望未来出现更多的歌剧舞台化妆相关研究. 基于上述研究, 期望未来学生能够了解舞台艺术的各个工作流程, 并通过创造性和分析性的 舞台化妆工作和研究, 有效推动韩国歌剧和舞台化妆相关业务.

Children's understanding and inheritance of traditional Chinese culture and innovation of Chinese children's picture book art form are of great significance to carry forward traditional culture and strengthen confidence in Chinese culture. As an excellent traditional Chinese opera art, Beijing Opera has an indispensable cultural status. The purpose of this study was to determine cognitive needs of children in view of simplified display form of children's picture books in China through decomposition, extraction, reconstruction, and integration of the Peking Opera character modeling elements, the use of modern design concepts, and the combination of artistic characteristics of picture books. It explored new ideas for the development of traditional culture, proposed application principles, and suggested strategies for the form innovation of children's picture books to make Beijing Opera enter children's life from the traditional stage.

A foreign Henan Opera has survived, changed, and localised and established its Taiwan identity from Henan Opera to Taiwan Bangzi for more than sixty years in Taiwan, since it was introduced from China to Taiwan under a historical occasion. This paper examines the localising process from Henan Opera to Taiwan Bangzi in Taiwan from four perspectives: social and cultural background, performers, contents of scripts, and textures of music. The time frame is divided into two periods (1947-1987 and 1987-2013) to discuss the processes separately.

Taiwanese opera (gezaixi), the most vibrant type of traditional theatre in Taiwan today, is sustained as a living art primarily through temple performances and secondarily through government-sponsored events. During temple festivities, patrons hire troupes for daylong performances that include a ritual performance, and opera performances in the afternoon and evening. On any specific day, professional troupes usually perform in different styles for the afternoon and evening shows, with a notable variance in vocal musical repertoire. The music of the “classic style” opera performed in the afternoon consists of songs from a pool of uniquely Taiwanese opera tunes. In contrast, popular songs dominate the musical repertoire used for the evening’s “hybrid style” performances. Although hybrid style opera has been performed for over forty years and the two operatic styles are both equally important to the performance practices of professional troupes, hybrid style opera continues to be marginalized. Surprisingly, some practitioners and scholars reject and critique hybrid style opera as deviant and non-traditional, particularly in its inclusion of popular songs. Government-sponsored events heavily favor classic style operas. My field research experience with Taiwanese opera, however, has led me to deconstruct the disapproving viewpoint of hybrid style opera and reconsider the nature of the opera’s musical repertoire formation. Through analyses of performance practices and dramatic functions of songs, I contend that performers select and use popular songs in corresponding manners as they do for that of non-popular, that is, traditionally-based, music. Furthermore, I delve into the formation of the opera’s vocal repertoire to argue that the bulk of the repertoire is formed through the appropriation of existing songs. Performers’ selection and usage of songs from the popular music genres is part and parcel of the vocal repertoire’s formation process. The latest transformation is in the performance of popular songs and the ways in which actors are featured in unprecedented fashions.

This study explores the impact of cultural identity on the acceptance of Huangmei Opera among Generation Z, with a specific focus on the moderating effects of gender and educational attainment, as well as the mediating roles of cultural engagement, attitude, and cultural pride. A survey was conducted with 506 Chinese university students aged 18-28, and SPSS-based mediation and moderation analyses were applied to examine how demographic factors interact with cultural identity to influence the acceptance of traditional cultural forms. The study aims to understand how cultural identity and demographic characteristics, such as gender and education, shape the younger generation’s engagement with Huangmei Opera. The findings reveal a positive relationship between cultural identity and the acceptance of Huangmei Opera, with significant moderating effects of gender and education. Specifically, females and individuals with higher educational levels demonstrate stronger acceptance of Huangmei Opera. Furthermore, cultural engagement, attitude, and cultural pride partially mediate the relationship between cultural identity and the acceptance of this traditional art form. These mediating factors help explain how cultural identity influences the acceptance of Huangmei Opera.The results provide practical insights into how traditional cultural heritage can be more effectively promoted and preserved in the digital age, particularly among younger generations. This research contributes to the broader understanding of how cultural identity functions in the preservation of intangib.

Taiwan Bangzi originally came from Henan province in China. Within the evolution in Taiwan society, it reveals a strong tendency of localisation in the past ten years. This paper will examine three contemporary operas from three perspectives: content of scripts, stage-performing methods and music, in order to demonstrate the ongoing and strengthening process of localisation and crossover of Taiwan Bangzi in this decade. The intention and evidence of localisation in Taiwan Bangzi can be found through the analysis in this paper from three aspects and a comparison in figures and music examples.

The purpose of this study is to analyze the influence of Chinese Shandong opera webcast on audience acceptance behavior in terms of use and artistic characteristics, and to verify the expansion mode of adding the performance attribute and cultural attribute of artistic products to the theory of technological acceptance behavior. this paper analyzes the structural relationship between the variables in the public choice of Shandong opera under the new communication mode of "webcast". In this study, in order to test the relationship between Shandong opera webcast and audience acceptance behavior, on the basis of combing and summarizing the characteristics of webcast, the personal characteristics of "anchor" are added as external variables. In this study, two online questionnaires were conducted, the first questionnaire was conducted to test the influence of various variables on receptive behavior, and the second questionnaire was conducted on the basis of revising the results of the first survey. to investigate whether public perception affected by external factors is associated with receptive behavior. The results show that the basic elements of technology acceptance behavior theory, perceived ease of use and perceived usefulness, have a positive (+) influence on the public acceptance behavior of live broadcast of Shandong opera network. Among the external variables, the use characteristics of webcast platform (interaction, convenience, security) and the personal characteristics of Shandong opera "anchor" (professionalism, attractiveness, popularity) have a positive (+) influence on perceived ease of use and perceived usefulness, which reflects the unique combination of technology and art of Shandong opera webcast. In addition, under the influence of the public's determination of the existing viewing behavior, the possibility of actual viewing and sharing is greatly increased in the future. The scope of this study covers the practical application fields such as webcast operation, Shandong opera performance, public acceptance of art products, etc., enriches the relevant research, and enhances the public's understanding and attention to the traditional art webcast. An effective plan is put forward to expand the audience.

This article aims to examine the perpetuation of negative stereotypes of disabled women within contemporary Chinese society through the vehicle of geju 歌劇, western-style or -influenced opera. I shall show that ableist elements are the main drivers behind the plots of both The White- Haired Girl (Bai Mao Nü 白毛女) and Lucia di Lammermoor (Lameimoer de Luqiya.拉美莫爾的露琪亞), and that these seemingly disparate works are united both by their particular depictions of “mad women.” I shall argue that the perception of both women and people with mental disabilities in general has the potential to stagnate within this art form as long as these works are promoted and performed in the current manner. Furthermore, I suggest that failure to critique geju performances through a disability studies lens may perpetuate both mainland Chinese and western stereotypes in society more broadly. I will first give a brief overview of the contemporary musicological understanding of opera, sexism and ableism. I will then outline the plot and historical contexts of the two case-study works. In my discussion I shall explore how both works are presented in mainland China today, and provide a feminist and disability studies critique of their “meaning” with regards to the status of women in this region now and in the immediate future.

Peking opera was introduced to Hong Kong audiences almost ninety years ago. Throughout the twentieth century Peking opera existed in Hong Kong in a diversity of activities. Although it gained little positive response from the local community, it was still able to develop in Hong Kong society with support of the mainland emigrants community. While the old Peking opera activities gradually faded out in contemporary Hong Kong, they were replaced by some new ones, which drew increasing public attention and appreciation. This paper aims to unfold the political influences on the shaping of Peking opera’s development in Hong Kong. Drawing upon historical sources, government documentations and fieldworks in local Peking opera troupes, I will discus how the adoptions of cultural policies by the external regimes of the Republic of China, originally in the mainland and on Taiwan after 1949, and the People’s Republic of China, as well as the internal power of the British colony and the Hong Kong Special Administrative Region governments brought Peking opera to Hong Kong and enabled the genre to develop.

2019 is the 120th birth anniversary of Lao She (1899-1966), a famous Chinese contemporary novelist and dramatist. He was one of the most significant figures of 20th-century Chinese literature, and best known for his novel Rickshaw Boy and other works. With a dozen teaching-material samples, this paper aims to review the narrative element in the English translation version of Camel Xiangzi—A Beijing Opera (Chinese script by Zhong Wennong, English rendition by Chen Rong) in terms of “story” and “discourse analysis”, and to expose the technical details behind, with proper attention to literary facts concerned with Lao She’s original novel version and madame Zhong’s own Chinese script version in particular. Based on the assumption that the order in story is fixed even if the discourse presents a different order, the main text focuses on three sections: A. narrative structuring, B. characters as narrators in story-events weaving, C. Beijing opera aria-singing and its counterparts, in order to analyze opera narrative as an independent system--this play, the continuum of events presupposing the total set of all conceivable events revolving around the hero Xiangzi (i.e.how his-storia of the rickshaw-puller becomes history)--with an eye to pay due respect to glocal (local +global) dissemination efforts at homeland audience as well as overseas readership.