This study aims to face the poor surroundings in reality that performing arts companies and artists are suffering and to seek for changes and solutions that will bring “financial stability” to the ones who perform creative art works. In this thesi...
This study aims to face the poor surroundings in reality that performing arts companies and artists are suffering and to seek for changes and solutions that will bring “financial stability” to the ones who perform creative art works. In this thesis, I focus on the cases of <<Younheedan Street Theatre Troup>>, <<Theatre Company Little Myth>>, <<Seoul Ballet Theatre>>, <<Lim Hakseon Dance We>> and the heads of these organizations, Lee Yuntaek, Choi Yonghun, Kim Inhui and Lim Hakseon to examine their management structure and management philosophy.
This thesis is based on theoretical background which argues that the art was recognized as sacred, public and nonprofit value in the past days but in nowadays the recognition of art has changed into an energy that creates economic benefit. Moreover, I state that the government policy on culture and art is established based on this change. In addition, the art management research should be revitalized in order to achieve welfare and financial stability of artists. To reach the stability, I argue that studies should be founded on the “on-the-spot” understanding and communication which is based on qualitative study in methodical basis and art management philosophy in subjective basis.
This takes dialogue analysis by interviewing the heads of theatre passing through 2 steps. Firstly, the written interview with structural questions of 5 different sectors is held: ① Recent conditions and History of the theatre, ② Organization of the theatre, ③ Management structure of the theatre and their opinion about support funding, ④ Welfare system and ethical position of theatre, ⑤ Behavior of the theatre leader on development strategy. Secondly, I mainly proceeded the secondary interview with unstructured questions.
This shows certain characteristics of each organizations I mentioned above. First of all, the <<Younheedan Street Theatre Troup>> has the features that; ⅰ) the members of the theatre troup actively participate in marketing, ⅱ) the theatre company makes an effort to create continuous benefit based on local community, and ⅲ) the company covers some members’ social insurance and pension. Secondly, the <<Theatre Company Little Myth>> strive to train theatricians, focus on gathering patrons and provide practice expenses for theatre members. On the other hand, the main characteristics of <<Seoul Ballet Theatre>> are; ⅰ) the dualized system of administrative part and creative part, ⅱ) various art programs that are provided for public and ⅲ) a full guarantee of social insurance, pension and salary for full members of the theatre. Lastly, <<Lim Hakseon Dance We>> has the principle of not providing complimentary ticket and it gives the members of theatre chances to participate choreograph and to work as a staff.
In this study, I also examined heads of performing arts company individually. Lee Yuntaek is a leader who is an idealist and realist at the same time. He successfully share his ideal and goal with the members and it leads the members to accompany him voluntarily. He is the leader who knows the importance of dividing power and community solidarity and who encourages members through reasonable compensation. Choi Yonghun is the leader who is democratic and who values principles as being very important. He also put emphasis on consideration and trust. He manages his company by operating general meeting and steering committee. Choi is faithful to the principle that the theatre should discuss social issues seriously and puts his best effort to gain trust from the members of theatre on the issue of theatre management and theatre production. Kim Inhui is the leader who is qualified as the “true leader.” Because Kim is self-devoting and takes the initiative and sets an example. Furthermore, I realized that she is not only a creative and flexible art administrator who doesn’t hesitate to expand denotation by solidarity and cooperation but also an art manager. Above all, the root of her management philosophy is compassion. Lim Hakseon actively works in various field: creation, research, and art management, and she successfully follows contemporary trend with open-minded attitude. In addition, Lim has an outstanding “coaching” skills to inspire intrinsic motivation into the members of theatre and to improve members’ individual competence by reinforcing job satisfaction and job commitment. She also appoints personnel to positions according to their ability.
I dare say this study is a significant research which objects to do the qualitative study on art management and tries to assess the management philosophy of art companies. Therefore, I eagerly anticipate that this thesis, which studied the wisdom of heads of Korea performing art companies, not only concretely advise young artist and art companies to overcome the crisis and to develop but also to be used as the baseline data of culture and art policy.
，韩语论文网站，韩语论文 |
