중국 ‘인상시리즈’ 실경(實景)공연산업 연구

Abstract

China is not only a multinational multicultural country with a large area and abundant resources. Billions of populations (56 ethnic groups) are united to form a base, and these ethnic groups have their own language and culture. Based on this, the real-life scenery performance “Impression Series” based on their own unique customs was born. A real-life scenery performance that uses the real nature as the background of the performance stage is called a real-life scenery performance in the 1.0 era. After China's first real-life scenery performance, “Impression Liusanjie” was very successful in the performance market in 2004, it has been receiving enthusiastic responses in each region of China. At the same time, as performances in the form of imitating “Impression Liusanjie” began to emerge like a flash, the curtain of the 1.0 era real-life scenery performance, which uses the existing nature as the background of the stage. Starting with “Impression Liusanjie” produced by Guilin Yangshuo in 2004, real-life scenery performances such as “Impression Westlake， Hainan Island， Dahongpao， Putuo， Wulong” appear in the background of three real-life performances. In the background of the stage, the existing nature was combined with various modern high-tech technologies such as lighting technology to create a performance stage where nature, humanities, scenery, and atmosphere coexist. Due to the diversified demand and development of the market, the 1.0 era of real-life scenery performances has soon entered the 2.0 era of real-life scenery performances, a form of performance that allows immersible experiences. The most representative works of the 2.0 era of actual performances include impression series “See You·Pingyao，Guoyue” and “Unique·Love” directed by director Wangchaoge. During 2.0 era, the audience actually participated in the play with the actor who leads the play during the performance and took a step forward to become part of the narrative and melted into the performance. In the 3.0 era of real-life scenery performances, the form of performances that allow immersible experiences was even more intact. Real-life scenery performances in the 3.0 era have evolved from a form that enables immersible experiences, a form of real-life scenery performances in the 2.0 era, to a form that provides comprehensive tourism services. Since 2019, Fantasia series“Unique·Amei Mountain，Henan” have been produced, and “Unique· Hongloumeng” are currently being produced. However, in the 3.0 era of the real-life scenery performance, efforts were made to minimize natural damage and restore and preserve traditional culture by adding artificial fantasy elements to overcome problems such as protecting the ecological environment and restoring traditional culture. In addition, the audience's participation in the performance, which began to appear from the 2.0 era of the actual performance, has gradually expanded from simple participants in the early stages to the main participants in the play. In a situation where consumers’ needs for consumption in the cultural domain are diversifying, rich content and directing of real-life scenery performances are expected to satisfy consumers’ needs. As real-life scenery performances are gaining huge popularity in the Chinese market, more and more cases of benchmarking them in each region of China. But there are still many problems to be solved to develop them into innovative tourism products. This study aims to introduce the current status of real-life scenery performances in China, from the representative “Impression Series” of the 1.0 era to the representative “Fantasia Series” of the 3.0 era, and analyzed the marketing model of real-life scenery performances and social, economic, and cultural interactions. Considering that the existing nature is used as the background of the stage and that it is based on the unique national culture of the region, real-life scenery performances can be highly evaluated as a cultural industry. Therefore, it is necessary to analyze how the contents of the current real-life scenery performance series that use local nature and humanities as performance themes are being consumed. Furthermore, this study is expected to contribute to the field of cultural resources and performing arts research in China. Whether or not the actual performance is sustainable will not only determine the future of the performing industry but also have a significant impact on the establishment of a development strategy for the future performing industry. In the cross-disciplinary field, various problems such as blindness, short-termity, and creativity began to appear in the research and practice process of the real-life scenery performance industry, and related problems such as intellectual property issues, sustainable operation methods, and audience cultural consumption habits are serious. This study aims to study the types of real-life scenery performances after the 3.0 era of real-life scenery performances in China through case studies on various real-life scenery performances from the 1.0 era “Impression Series” and the 2.0 era “See You Series” to the 3.0 era “Fantasy Series·Unique”. For the development of the real-life scenery performance industry, it should not be limited to simply research on the form, function, and value of national dance art, but integrated interdisciplinary research is needed in various fields such as culture, ethnicity, society, art, and economy. The “Impression Series” can be said to be a representative performance of real-life Chinese performances. Starting with the advent of the “Impression Series” real-life scenery performances that combine humanities and history began to appear one after another in various parts of China. Therefore, the success and failure cases that appeared in the development process of the impression series are worth referencing for the development of the real-life scenery performance industry in other regions. The real-life scenery performance boldly reveals Chinese culture in each work, so Chinese culture can show progress without regret. Real-life scenery performances can be said to be cultural innovation in China. In addition, with this opportunity, Chinese culture and art can compete with the world on the international stage. Since real-life scenery performances use culture as the main content by using the existing environment such as nature or cities in a specific area as the background of the stage, various elements such as tradition, characteristics, and humanities of the region can be promoted through performances. The real-life scenery performance can promote the tourist attraction to numerous consumers (tourists), and consumers can sympathize with the local national customs, culture, and emotions through the performance. Through this, it is possible to increase awareness of tourist attractions. This paper presents the characteristics of the “Impression Series” works among real-life scenery performances in China, and based on this, it presents the improvements and revitalization measures necessary for the operation of real-life scenery performances. In addition, due to the limited factors of real-life scenery performances, there are deficiencies, such as the inability to conduct detailed analysis on future-oriented activation measures. After the 3.0 era, I hope that continuous interest and research on topics related to real-life scenery performances will continue to be supplemented. In addition, I hope that research on the production and development of real-life scenery performances in China will continue to develop continuously in the future.