People's steady interest in utilizing leisure time and enjoying culture is bringing about changes in the structure of distributing arts works created and in ways of the arts creation. As many people are interested and invest in art and culture, the structure of distributing arts works is advanced by...
People's steady interest in utilizing leisure time and enjoying culture is bringing about changes in the structure of distributing arts works created and in ways of the arts creation. As many people are interested and invest in art and culture, the structure of distributing arts works is advanced by their interest and investment. The advancement in the structure of distributing arts works will lead to the expansion of the arts area, and revitalize the support of the creation section, which is expected to recur. However, this applies to theoretical backgrounds and market structures. In the real situation, changes in the arts creation cannot come up with those in people's interest and the distribution structure as easily and quickly. As the economic pie of culture industry becomes larger, more popular performances and exhibits and more sellable products are arranged in order to concentrate the interest of the public and communicate intimately with them. Many arts creators cannot share the enlarged pie. In addition, this structure is not directly related to the creation sector, so despite the development in the arts sector, artists pose questions about the space and support for their creation activity, and express their concern about their wellbeing problems. Along with the advancement in arts, the growth in the artistic quality of their works, and their arts creation activity should be discussed. Steady interest in providing proper spaces for artists should be taken, and ways of realizing the interest should be found. The need of space for creation activity is perceived by artists themselves and those in the area of arts management as well. A national project in 1997 promoted by the Arts Council Korea planned on providing artists with space for creating fine arts works. As a result, many regions across the nation have studios and corresponding spaces where artists can create their works thanks to the national government's support and steady development in arts. Residence space and support for artists tend to increase due to the contribution by private enterprises and foundations. Yet, most of the studios and spaces for artists' creation activities are mostly used for fine arts and literature. The other artistic genres are still in need of support from outside. Programs to provide spaces for artists' creation activities promote the security of spaces for artists and their communication with the public, and support other projects for artists. However, the artistic genres which are not supported by these programs need to be provided with some space and to be developed in appropriate ways. Now in many regions, residence programs are operated, and the wellbeing of artists is seriously discussed. However, artists still need to be provided with the environment where they can do performance, share and utilize information, and distribute their works so that they can create works steadily.
This study focuses on performance arts which are poorly supported, and tries to find ways to support them based on their characteristics. Also, this study concentrates on how the environment for creating arts works changes and what should be presented as ways to give some practical help to performance arts. This study is expected to bring more promotive programs to new artists by identifying the correlation between residence programs and performance arts. This study is also expected to spur the advancement of residence programs specializing in festival performance. The limit of this study is that most prior studies of ways to provide spaces for artists are confined to the area of fine arts. Though these studies have made it possible to make comparative analyses of artistic genres, they are not enough to be precedents of performance arts. To make up for this shortage, this study has analyzed actual examples, referred to them, and established its basic direction by making changes through utilizing the existent programs. Though it has not proved the real effect of operating the residence programs, this study is sure to be the base on which to lead to a lot of research which is expected to complement its limit.
People's steady interest in utilizing leisure time and enjoying culture is bringing about changes in the structure of distributing arts works created and in ways of the arts creation. As many people are interested and invest in art and culture, the structure of distributing arts works is advanced by their interest and investment. The advancement in the structure of distributing arts works will lead to the expansion of the arts area, and revitalize the support of the creation section, which is expected to recur. However, this applies to theoretical backgrounds and market structures. In the real situation, changes in the arts creation cannot come up with those in people's interest and the distribution structure as easily and quickly. As the economic pie of culture industry becomes larger, more popular performances and exhibits and more sellable products are arranged in order to concentrate the interest of the public and communicate intimately with them. Many arts creators cannot share the enlarged pie. In addition, this structure is not directly related to the creation sector, so despite the development in the arts sector, artists pose questions about the space and support for their creation activity, and express their concern about their wellbeing problems. Along with the advancement in arts, the growth in the artistic quality of their works, and their arts creation activity should be discussed. Steady interest in providing proper spaces for artists should be taken, and ways of realizing the interest should be found. The need of space for creation activity is perceived by artists themselves and those in the area of arts management as well. A national project in 1997 promoted by the Arts Council Korea planned on providing artists with space for creating fine arts works. As a result, many regions across the nation have studios and corresponding spaces where artists can create their works thanks to the national government's support and steady development in arts. Residence space and support for artists tend to increase due to the contribution by private enterprises and foundations. Yet, most of the studios and spaces for artists' creation activities are mostly used for fine arts and literature. The other artistic genres are still in need of support from outside. Programs to provide spaces for artists' creation activities promote the security of spaces for artists and their communication with the public, and support other projects for artists. However, the artistic genres which are not supported by these programs need to be provided with some space and to be developed in appropriate ways. Now in many regions, residence programs are operated, and the wellbeing of artists is seriously discussed. However, artists still need to be provided with the environment where they can do performance, share and utilize information, and distribute their works so that they can create works steadily.
This study focuses on performance arts which are poorly supported, and tries to find ways to support them based on their characteristics. Also, this study concentrates on how the environment for creating arts works changes and what should be presented as ways to give some practical help to performance arts. This study is expected to bring more promotive programs to new artists by identifying the correlation between residence programs and performance arts. This study is also expected to spur the advancement of residence programs specializing in festival performance. The limit of this study is that most prior studies of ways to provide spaces for artists are confined to the area of fine arts. Though these studies have made it possible to make comparative analyses of artistic genres, they are not enough to be precedents of performance arts. To make up for this shortage, this study has analyzed actual examples, referred to them, and established its basic direction by making changes through utilizing the existent programs. Though it has not proved the real effect of operating the residence programs, this study is sure to be the base on which to lead to a lot of research which is expected to complement its limit.
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