일련의 고찰을 통해 본 논문은 기존의 연구 안에서 피상적으로만 접근되던 뮤지컬 관객의 반복관람 문화를 구체적으로 제시하고자 한다. 또한 본 논문은 뮤지컬 팬덤이 온·오프라인의 연쇄적 퍼포먼스를 통해 보다 강렬한 라이브를 체험하며, 궁극적으로는 집단적으로 기억을 봉인(封印)한다는 점을 지적하고자 한다. 이는 뮤지컬 팬덤의 행동을 소비적인 관점에서만 혹은 기존의 팬덤 문화에 기대서만은 알 수 없는 것으로서, 인터넷 게시판에 매개된 시즌 단위의 독특한 뮤지컬 감상 방식으로 지칭할 수 있을 것이다.This paper analyzes the behavioral patterns of fandom, which is repeatedly seen in the creative musical Frankenstein, by dividing it into offline and online activities. In particular, the offline experience is considered as ‘liveness’ and the accompanying text ‘online production’ is analyzed as ‘rewriting.
’The ‘liveness’ is accompanied by all performance sites. However, this paper claims that music and narrative of musical Frankenstein increases liveness, which composed of improvisation, act of seeing and sorrow.
In addition, this paper investigates the ‘Yoen-myu-gael,’ the online community for rewriting the original musical on the Internet. And this paper thought that the fandom created ‘memory restoration,’ ‘textualization and interpretation of improvisational elements,’ and ‘rewriting of the surrounding characters and the whole season.’
Above all, the activity of the musical fandom coincides with the scheme of performance mentioned by the theater scholar Schechner. This means that the fandom of Frankenstein repeatedly watched the show and underwent ‘change’ and ‘transformation,’ and thus created a seasonal epic.
In conclusion, this paper attempts to start a full-fledged commentary on the repetitive viewing culture that was overlooked by existing musical spectator research. In particular, I would like to point out that fandom experiences intense live performance by their act of repetitive viewing, further more the experiences store memories collectively. This means that the behavior of the musical fandom can not be known only from the consumption aspect or from the existing fandom culture. And this can be referred to as a seasonal musical appreciation method mediated by Internet board.