창작 뮤지컬의 발전 방안 연구

Abstract

기술이 발전됨에 따라 콘텐츠의 저장방식과 소비방식은 디지털화 되었다. 이로 인하여 콘텐츠의 접근성이 예전보다 용이해졌다. 하지만 누구나 쉽게 콘텐츠를 복제할 수 있는 역효과까지 커졌다. 디지털 기술의 발전은 콘텐츠의 수익구조 자체를 바꾸어 놓았다. 콘텐츠의 시장가격은 점점 떨어지고 생산자에게 돌아가는 이익 역시 줄었다. 이익이 줄어들다보니 생산자들은 혁신적인 콘텐츠를 만드는 위험을 감수하기보다는 기존에 성공했던 콘텐츠의 확대 재생산 위주의 안전한 길을 택하는 경우가 많아졌다. 하지만 ‘현장감’이 생명인 공연콘텐츠는 다른 콘텐츠들과는 조금 성격을 달리한다. 공연콘텐츠 자체는 복제할 수 있지만 ‘현장감’까지 복제할 수는 없다. 따라서 공연콘텐츠는 복제한 콘텐츠가 원본 콘텐츠와 크게 다를 바 없는 콘텐츠들보다 생산자들에게 시장가치를 어느 정도 보장받게 해준다. 또한 다시 경험하지 못할 ‘현장감’을 원하는 이용자들의 요구도 수용이 가능하다. 이것이 무분별한 복제가 가능한 디지털 시대에 공연콘텐츠가 가지고 있는 가치이며 개발이 필요한 이유이다. 다양한 공연콘텐츠 중 뮤지컬은 다른 콘텐츠에 비해 장기공연을 하게 된다. 그렇기 때문에 공연콘텐츠 중에서도 상대적으로 시장성이 좋다. 그래서 본고에서는 다양한 공연 콘텐츠 중 시장성이 높다고 판단한 뮤지컬 분야에 연구를 집중하고자 하였다. 국내 뮤지컬 시장을 살펴본 바에 의하면 대부분의 흥행이 라이선스 뮤지컬 위주로 이루어지고 있으며 창작 뮤지컬은 제작되는 편수는 많은데 비해 실질적인 흥행으로 이루어지지는 못하는 상황이다. 라이선스 뮤지컬도 여러 구조적인 문제 때문에 제작사들의 수익으로 이어지기가 어려운 상황이었고 창작 뮤지컬은 작품 자체의 흥행조차 어려운 상황이기 때문에 수익으로 연결되기 어려웠다. 결국 이러한 상황을 개선할 수 있는 방법은 수준 높은 창작 뮤지컬을 개발하여 흥행시키는 것이라는 분석들이 나오고 있는 시점이다. 따라서 수준 높은 창작 뮤지컬을 개발하여 흥행시키기 위한 발전 방안을 마련하기 위한 연구가 필요하다고 생각했다. 발전 방안이라고 하면 광범위한 내용을 포함한다. 이에 대한 고민을 두 가지로 나누어 본다면, 내적 요인(작품), 외적 요인(마케팅, 제도적 뒷받침)으로 구분할 수 있을 것이다. 본고에서는 이 두 가지 요인 중 내적요인, 즉 작품을 중심으로 발전 방향에 대한 모색을 하는 것으로 연구의 범위를 한정하였다. 라이선스 뮤지컬과 경쟁하려면 기존의 뮤지컬과는 차별화되는 지점을 분명히 가지고 있어야 하며, 많은 사람들이 공감할 수 있는 내용을 다루는 뮤지컬이라야 할 것이다. 때문에 본고에서는 기존에 발표된 창작뮤지컬 작품 중 이에 부합하는 뮤지컬로 ‘고구려’를 소재로 창작한 극시 <대륙의 꿈>을 토대로 만들어진 뮤지컬<수천>을 선정하였다. 수천은 비록 상업적인 성공은 거두지 못했지만 우리나라에서만 나올 수 있는 독특한 역사적인 소재와 무게 있는 주제를 가지고 만들어진 창작뮤지컬이다. 한국 창작뮤지컬의 태동기에 작품성을 인정받아 예산을 지원받기까지 한 뮤지컬이니 만큼 <수천>이 가지고 있는 장단점을 연구하여 앞으로 창작뮤지컬의 발전 방향에 대한 논의를 이어나가는 것은 분명 의미 있는 일이다. 본고에서는 뮤지컬<수천>을 구성하는 내적 요인 중 무대연출 분석을 제외한 극적 구성과 음악적 내용을 면밀히 분석하고 더 나아가서 이들이 어떻게 유기적으로 상호작용하는지에 대한 분석을 하였다. 이를 통하여 뮤지컬<수천>이 지닌 장점과 문제점을 파악해 보았다. 2015년 현재 만들어지고 있는 창작뮤지컬들은 <수천>이 공연될 당시와 비교해서 많은 발전을 이룬 것이 사실이다. 하지만 차별화된, 사람들의 공감을 살 수 있는 소재의 개발, 시나리오와 대본, 음악 그리고 무대가 유기적으로 연관성을 가지지 못하고 있는 것에 대한 고민은 <수천>이 공연 되던 때와 크게 다르지 않다. 때문에 비록 10년 전에 마지막으로 공연된 뮤지컬이지만 창작 뮤지컬<수천>의 분석연구는 앞으로 만들어지게 될 창작 뮤지컬의 발전 방향에 대한 논의를 확장해 나갈 수 있다는 의의를 지닐 것이다.|With the development of technology, the storage method and the consumption method of contents have become digitalized. Due to this, accessing the contents are more convenient than before. However, the reverse effect in which anyone can easily reproduce contents has become a trend. The development of digital technologies has changed the profit structure itself of the contents. The market prices of the contents have been gradually dropping and the profits returned to the producers have been reducing as well. With the reduction in profits, instead of bearing the danger of making the innovative contents, there have been a lot of cases in which producers selected the safe roads centered on the expansions and reproductions of the contents that had previously been successful. However, the personality of the performance contents, of which the sense of realism is life, is a little bit different from other contents. Although the performance contents themselves can be reproduced, the sense of realism cannot. As a result, unlike the contents of which the reproduced contents are not much different from the original contents, the performance contents give certain extents of the guarantees regarding market values to the producers. Also, the demand by the users desiring the sense of realism which cannot be experienced again can too be accommodated. In the digital era in which indiscriminate reproductions are possible, this is the value possessed by the performance contents and the reason why development is necessary. Among the diverse performance contents, musicals engage in long-term performances, in contrast to other contents. As such, among the performance contents, their marketability is relatively good. So, in this manuscript, it is intended to focus the research in the musical field, of which the marketability is judged to be high, among the diverse performance contents. As a result of having taken a look at the domestic musical market, most of the successes have been taking place centered on license musicals. Also, the situation of the creative musicals is such that, compared to there being a lot of compilations produced, they do not realize actual successes. The situation of the license musicals too has been such that it has been difficult to continue to the profits of the producer companies because of the many structural problems. Also, because the situation of the creative musicals has been such that the success of the works of art themselves have been difficult, it was in turn difficult to be followed by profits. Eventually, with regard to the method of improving such a situation, the time point is such that the analysis stating high-level creative musicals should be developed and made successful have been released. I thought that, as a result, a research for preparing the advancement plans for developing and making into success the high-level creative musicals is necessary. 'The advancement plans' include a broad range of details. If we are to divide the worries regarding this into two, classification can be made into the internal factors (works of art) and the external factors (marketing, institutional support. In this manuscript, the scope of the research was limited to seeking the development directions centered on the works of art, which are the internal factors among the two types of factors. In order to compete against license musicals, the point that is differentiated from the previously existent musicals must be clearly possessed. Also, it must be a musical that deals with the contents about which a lot of people can feel sympathy. Because of this, in this manuscript, as a musical that accords with this among the creative music works of art presented previously, the musical <Sucheon> was selected. This musical was created with 'The Dream of the Continent', a verse drama created with 'Goguryeo' as the material. Although <Sucheon> was not commercially successful, it is a creative musical made with unique historical materials that can come out only in Korea as well as weighty subjects. The quality of the work of <Sucheon> was recognized in the quickening period of the creative musicals of Korea. It is a musical that has received the support of the budget. As such, researching the strong points and weak points possessed by <Sucheon> and continuing with the discussions regarding the development directions for the creative musicals in the future would clearly be a meaningful thing. In this manuscript, among the internal factors comprising <Sucheon>, the dramatic organization and the musical contents, excluding the analysis of the stage directions, were thoroughly analyzed. Going even further, the analysis of how these organically interact was conducted. Through this, the strong points and problems of <Sucheon> were understood. As of 2015, it is a fact that the creative musicals that have been currently made have achieved a lot of developments in comparison with the era of the performances of <Sucheon>. However, the worries regarding the development of the materials which are differentiated and sympathized by people, as well as there not being the organic interrelationships among the scenario, scripts, music, and stage are not much different from the time of the performances of <Sucheon>. Because of this, although the creative musical <Sucheon> is a musical that was last performed 10 years ago, the analytical research of <Sucheon> has the meaning stating that it can extend the discussions on the direction of the development of the creative musicals that will be made in the future.; With the development of technology, the storage method and the consumption method of contents have become digitalized. Due to this, accessing the contents are more convenient than before. However, the reverse effect in which anyone can easily reproduce contents has become a trend. The development of digital technologies has changed the profit structure itself of the contents. The market prices of the contents have been gradually dropping and the profits returned to the producers have been reducing as well. With the reduction in profits, instead of bearing the danger of making the innovative contents, there have been a lot of cases in which producers selected the safe roads centered on the expansions and reproductions of the contents that had previously been successful. However, the personality of the performance contents, of which the sense of realism is life, is a little bit different from other contents. Although the performance contents themselves can be reproduced, the sense of realism cannot. As a result, unlike the contents of which the reproduced contents are not much different from the original contents, the performance contents give certain extents of the guarantees regarding market values to the producers. Also, the demand by the users desiring the sense of realism which cannot be experienced again can too be accommodated. In the digital era in which indiscriminate reproductions are possible, this is the value possessed by the performance contents and the reason why development is necessary. Among the diverse performance contents, musicals engage in long-term performances, in contrast to other contents. As such, among the performance contents, their marketability is relatively good. So, in this manuscript, it is intended to focus the research in the musical field, of which the marketability is judged to be high, among the diverse performance contents. As a result of having taken a look at the domestic musical market, most of the successes have been taking place centered on license musicals. Also, the situation of the creative musicals is such that, compared to there being a lot of compilations produced, they do not realize actual successes. The situation of the license musicals too has been such that it has been difficult to continue to the profits of the producer companies because of the many structural problems. Also, because the situation of the creative musicals has been such that the success of the works of art themselves have been difficult, it was in turn difficult to be followed by profits. Eventually, with regard to the method of improving such a situation, the time point is such that the analysis stating high-level creative musicals should be developed and made successful have been released. I thought that, as a result, a research for preparing the advancement plans for developing and making into success the high-level creative musicals is necessary. 'The advancement plans' include a broad range of details. If we are to divide the worries regarding this into two, classification can be made into the internal factors (works of art) and the external factors (marketing, institutional support. In this manuscript, the scope of the research was limited to seeking the development directions centered on the works of art, which are the internal factors among the two types of factors. In order to compete against license musicals, the point that is differentiated from the previously existent musicals must be clearly possessed. Also, it must be a musical that deals with the contents about which a lot of people can feel sympathy. Because of this, in this manuscript, as a musical that accords with this among the creative music works of art presented previously, the musical <Sucheon> was selected. This musical was created with 'The Dream of the Continent', a verse drama created with 'Goguryeo' as the material. Although <Sucheon> was not commercially successful, it is a creative musical made with unique historical materials that can come out only in Korea as well as weighty subjects. The quality of the work of <Sucheon> was recognized in the quickening period of the creative musicals of Korea. It is a musical that has received the support of the budget. As such, researching the strong points and weak points possessed by <Sucheon> and continuing with the discussions regarding the development directions for the creative musicals in the future would clearly be a meaningful thing. In this manuscript, among the internal factors comprising <Sucheon>, the dramatic organization and the musical contents, excluding the analysis of the stage directions, were thoroughly analyzed. Going even further, the analysis of how these organically interact was conducted. Through this, the strong points and problems of <Sucheon> were understood. As of 2015, it is a fact that the creative musicals that have been currently made have achieved a lot of developments in comparison with the era of the performances of <Sucheon>. However, the worries regarding the development of the materials which are differentiated and sympathized by people, as well as there not being the organic interrelationships among the scenario, scripts, music, and stage are not much different from the time of the performances of <Sucheon>. Because of this, although the creative musical <Sucheon> is a musical that was last performed 10 years ago, the analytical research of <Sucheon> has the meaning stating that it can extend the discussions on the direction of the development of the creative musicals that will be made in the future.