Art marketing in the metaverse world: Evidence from South Korea

Abstract

This study aims to describe the structural relationship between audience attitude and behavioral intention based on an audience’s experience value of a performance on a metaverse platform and their intention to accept this platform. A questionnaire was administered to the study sample audience who watched the performance on a metaverse platform at least once; we included 323 valid questionnaires in our final analysis. For the analysis, a structural equation model was performed to identify the above-mentioned relationship. Overall, the study findings demonstrate that aesthetic, which is the value of performing performances on a metaverse platform, had a major influence on performance viewing, and escapism significantly affected the use of a metaverse platform. Conversely, the educational experience of the audience did not appear significantly in the performance using the metaverse platform. Therefore, this study will be helpful in understanding how to utilize space and experience marketing functions in relation to metaverse performance and how to communicate in the future.

Keywords:

• performing arts
• metaverse
• performance experience
• technology acceptance model
• performance satisfaction
• loyalty
• art marketing

1. Introduction

As the metaverse is a popular topic when forming new relationships in the non-face-to-face era, the domains of culture and arts are actively using the metaverse to connect with the public. In particular, various attempts are being made in performing arts, where spatiality and presence are important. Some examples of the use of the metaverse in performances include the metaverse concert held in Fortnite, which included Travis Scott and Ariana Grande, and metaverse immersive play in VR Chat, such as Finding Pandora X and Welcome to Respite (Garson, 2022; Kim, 2020; Melnick, 2021; Soloski, 2021; Williams, 2021). Audiences are now watching performances on metaverse platforms and experiencing a new form of performing arts involving various technologies. Subsequently, viewing performing arts using metaverse platforms has emerged as a catalyst for changing the performing arts paradigm by introducing new possibilities to existing offline performances.

For performing arts, the metaverse provides art experience spaces that enhance the understanding and immersive quality of works through performances; it is a place where new forms of creative activities can exist. The world can be conceptualized through performance planning using the metaverse. For offline theater experiences to continue in multiple dimensions, a performance form and experience design are required. According to this trend, more than ever, efficient marketing research is essential for satisfying the needs and desires of audiences who watch performances on metaverse platforms and developing effective audiences (Hazan et al., 2022; Hollensen et al., 2022; Jeon, 2022).

In terms of service marketing, which is different from current offline performances, it is necessary to have an accurate understanding of an audience to find ways to maximize audience satisfaction with viewing performing arts on metaverse platforms and find ways to create an environment where people can enjoy watching performing arts on this platform (Hazan et al., 2022; Hollensen et al., 2022).

The most important factor for selecting and evaluating performances is experience (Parasuraman et al., 1985; Shostack, 1977). Although experience is an important marketing tool for audience development in performing arts, few studies have investigated experience and audience behavior. In particular, studies that explain the relationship between performances and experiences in the metaverse and the concept, attitudes, and consumption behaviors of the audience are rare. Therefore, this study aims to present the value of performance viewing as a product of experience.

This study focuses on and aims to understand the new technology of the metaverse and the value of the audience experience of watching performing arts on a metaverse platform. This study develops a method for audience participation on a metaverse platform, which cannot be done with offline performances, by conducting an empirical analysis through surveys. Additionally, it considers ways of introducing the existing performing arts audience to a new digital world, the metaverse. To this end, a structural equation model based on path and factor analyses is attempted using SPSS26.0 and AMOS26.0 to analyze the mutual relationship structure. This study demonstrates the significance of spatial and experiential marketing in performing arts marketing using the metaverse by demonstrating the advantages of this new technology, including convenience, the feeling of escapism, and the flow that induces immersiveness. Thus, the study has both theoretical and practical significance.

This study uses the metaverse platform to identify the values an audience experiences during performances and audiences’ intention to accept a metaverse platform. Based on this, this study proposes a conceptual model for the relationship between performance immersion flow and performance satisfaction and loyalty and, ultimately, suggests implications for developing a performing arts marketing strategy.

2. Theoretical background and hypotheses development

2.1. Art marketing in the virtual world

The metaverse, which first appeared in Neal Stephenson’s sci-fi novel Snow Crash published in 1992, is an interactive 3D virtual environment featuring avatars (Tilak et al., 2020). However, the metaverse is not an alternative to or the antithesis of reality but has been, with a general consensus, accepted as an intersection, combination, and convergence of the real and virtual worlds (Smart et al., 2007). This new technology is becoming increasingly popular among members of the new generation who are sensitive to trends.

As a result of responses to COVID-19, accelerated digital transformation and online interactions have attracted users to gaming and social metaverse platforms such as Roblox, Zepeto, Minecraft, and Fortnite. The user base of metaverse platforms is increasing, particularly the younger generation who is familiar with online activities, and consequently, the market size of these platforms is also expected to increase rapidly. Accordingly, companies from various industries have begun actively using the metaverse for various purposes, from advertisements to performances, events, and education. Given that the metaverse has developed into a major global trend, metaverse research is being conducted in various fields. Further, the meaning of the metaverse is expanding with the advent of blockchain, non-fungible tokens (NFTs), and various platforms. The interlocking of the metaverse with reality is also intensifying, and as such, this new technology is affecting the overall economy, society, and culture.

Performing arts involves showcasing different art forms, such as dancing, acting, and music, on stage in front of an audience. These performances include musicals, concerts, circuses, pantomimes, and puppet shows (Moore & Varchaver, 1999). Performing arts is also sometimes called stage arts because some performances occur on a space called a stage. However, with the advent of the non-face-to-face era resulting from COVID-19, the performing arts, essential elements of spatiality and presence, came to a standstill.

Subsequently, the entertainment industry has actively utilized the metaverse. Famous singers such as Travis Scott, Ariana Grande, John Legend, Justin Bieber, and ABBA have performed in concerts on various metaverse platforms. Metaverse concerts have been successful, generating better revenue than offline concerts, and have recently expanded to fandom events and performances.

K-pop, part of the Hallyu cultural phenomenon, also actively uses the metaverse. As it is difficult to hold offline, face-to-face events for domestic and foreign fans, K-pop idol groups such as BTS and Black Pink are planning events where fans can meet the artists in the metaverse and explore new content production and business models (Kim, 2020).

The pure performance field has also begun to use the metaverse. For example, the Royal Shakespeare Company has showcased virtual performances such as Dream (which is based on Shakespeare’s A Midsummer Night’s Dream; Soloski, 2021; Williams, 2021), Finding Pandora X (Melnick, 2021), and The Severance Theory: Welcome to Respite (Garson, 2022). These performances were created on the metaverse platform through VR and motion capture technology, generating a new kind of experience through real-time interactions with the audience. XR Immersive Theater recently showcased a multi-connection performance that gave the audience a sense of presence and immersion. These performances consisted primarily of one to two actors performing for small audiences. Thus, performances are changing from telling stories to spectators to living stories that can be experienced.

In the performing arts, the metaverse platform is an art experience space that enhances the understanding and immersion of the audience through performances. Studies of metaverse platforms and empirical data related to performing arts have not been conducted so far. One study reviewed marketing-related studies of metaverse platforms and conducted a case study of Nike and Roblox; the researchers argued that the virtual platform, content service, and consumer and business behavior were the most important components for the study participants (Hollensen et al., 2022). Additionally, they indicated that how companies communicate and use their marketing functions is significant.

Most metaverse marketing-related studies have been conducted through case studies, and the analysis of existing literature (Hazan et al., 2022; Hollensen et al., 2022), and studies based on empirical data are still insufficient; for instance, Jeon (2022) examined how individuals process social media content in the metaverse based on empirical data. Performance marketing research conducted on metaverse platforms is also quite insufficient.

Therefore, this study aims to develop a method for estimating audience participation during metaverse performances, which cannot be done with offline performances, based on an empirical analysis using surveys. This study also considers ways of introducing performing arts audiences to this new digital world of the metaverse.

2.2. Performance experience

The fundamental reason behind an audience’s difficulty selecting a performance to watch is the difficulty of evaluating it beforehand. This is because performances such as movies, festivals, sports, and art are intangible services, which makes it difficult for users to evaluate these products without experience (Parasuraman et al., 1985; Shostack, 1977). In other words, the most important factor for selecting and evaluating performances is experience. Through a literature review of performance and experience, Hirschman and Holbrook (1992) highlighted the importance of experiential consumption and that the pleasure and enjoyment arising from consumption behavior is the main purpose of consumption. Thompson et al. (1989) argued that consumers of performances, sports, movies, and festivals pursue pleasure rather than functional utility. In other words, performance can be viewed as a pleasure product and cannot be possessed; pleasure obtained only through experience can be the purpose of such consumption (Holbrook & Hirschman, 1982). Although the experience of watching a performance greatly influences the audience’s perception and service quality, very few studies have explored performances through the concept of experience.

The concept of experience can be broadly divided into product experience, service experience, and consumption experience (Arnould & Price, 1993; Brakus, 2008; Holbrook, 2000). Product experience refers to the physical effects, direct and indirect, of experiencing a product (Hoch & Ha, 1986). It also refers to the experience in product interaction with users or through evaluation after purchase (Hoch, 2002). In other words, from the perspective of the performing arts, product experience can be seen as an experience that occurs through the content of the performance.

A service experience can occur only in a physical environment, such as a store, or in the process of interaction with consumers (Hui & Bateson, 1991; Kerin et al., 1992). In other words, it refers to an experience obtained in a physical environment, such as a performance hall or a waiting room, or through an interaction with an audience. According to Arnold et al. (2005), service experience positively influences consumers’ perceived experience and evaluation process. In other words, from the perspective of performing arts, service experience is an important marketing element for institutions like arts organizations.

Consumption experience refers to the overall experience of consumers with product consumption. The consumption experience type contains complex elements such as pleasure, fun, and interest (Holbrook & Hirschman, 1982), which are acquired through consumption. Schmitt (1999) classified consumption experiences as consisting of sensory, emotional, cognitive, behavioral, and relational elements. Mathwick et al. (2002) classified consumption experiences as including aesthetics, playfulness, customer investment profitability, and service excellence. According to Pine and Gilmore (1998), consumption experience factors comprised entertainment, educational, aesthetic, and escapist experiences.

As such, experiences can be viewed as types in different situations. Although experience is an important marketing tool for audience development in performing arts, few studies have investigated experience and audience behavior. In particular, studies that specifically explain the relationship between performances and experiences in the metaverse and the concept, attitudes, and consumption behaviors of the audience are very rare. Therefore, this study aims to present the value of performance viewing as a product of experience. The value of viewing a performance is divided into educational, entertainment, aesthetic, and escapist values from the perspective of service and consumption experiences, and the relationship between metaverse acceptance intention, audience attitude, and consumption behavior is also investigated in this study.

2.3. Technology acceptance model

The Technology Acceptance Model (TAM) expanded the theory of reasoned action proposed by Fishbein and Ajzen (1977) to explain appropriate actions in specific fields and situations (Davis et al., 1989; Wu & Liao, 2011). Afterward, it began to be applied to study individual acceptance and response to new technologies such as computers and information technology (Davis et al., 1989; McCleary et al., 1994).

According to Davis (1989), the TAM is a model that was derived to explain and predict the behavior of any information technology user. This model extends the relationship between behavioral attitudes and behavioral intentions to a study on the acceptance or adoption of information technology by specific users.

The TAM sees perceived usefulness and perceived ease of use as factors influencing acceptance behavior toward a specific new technology and suggests that perceived usefulness and ease of use are determined by exogenous variables (Davis, 1989). As a result, perceived ease of use affects perceived usefulness and actual behavior (Davis, 1989; Davis et al., 1989; Venkatesh & Davis, 1996). The biggest advantage of the TAM is that it explains the behavior of the users with a high variance in the study of the acceptance of new technologies (Chau & Hu, 2002).

Perceived ease of use is the degree to which a person believes that there will be no great effort or difficulty in using a specific new technology, that is, a decrease in user effort to introduce and use a new technology, product, or system (Davis, 1989; Davis et al., 1989; Venkatesh & Davis, 1996). It shows that a user perceives a technology or information system as requiring less mental effort or as being less burdensome. Perceived usefulness indicates the degree to which one believes that individual performance will increase by embracing a technology (Davis, 1989; Davis et al., 1989) and whether an innovative technology will effectively change an existing work performance process. It can also be understood as an individual’s belief that it will increase productivity or improve quality of life.

In summary, the TAM is considered a lower dimension of perceived usefulness and perceived ease of use; it has a positive effect on the intention to use, affects actual use by mediating intention of use, and indicates whether consumers will accept a new technology. Subsequently, it is essential to technology development (Davis, 1989; Davis et al., 1989; Hu et al., 1999).

Although interest in the metaverse is increasing worldwide, it does not necessarily mean that it will become popular through the active acceptance of consumers. Therefore, to successfully popularize the metaverse through user acceptance and adoption while avoiding consumer rejection, research for predicting and analyzing factors affecting consumer acceptance is needed. Additionally, when applied to experience economy theory, it was found that experiences of pleasure, fun, and escape experienced via technology are important determinant factors in positively affecting consumer acceptance and their use intentions regarding new technologies (Venkatesh & Bala, 2008; Venkatesh et al., 2012; Webster, 1989).

Based on the experience economy theory described above, this study aims to examine how the experience value of performing arts in the metaverse affects the audience. Therefore, we want to examine whether performing arts audiences accept metaverse technology based on their individual experience value and whether they are satisfied with the performing arts showcased on metaverse platforms and demonstrate the audience’s intention to watch the performance again.

Based on previous studies, the following hypotheses were proposed to examine the relationship between the experience value of performing arts on a metaverse platform and the TAM.

H1: The performance experience [education experience (H1a), entertainment experience (H1b), aesthetic experience (H1c), and escapist experience (H1d)] of performing arts on a metaverse platform has a positive effect on the perceived ease of use.

H2: Performance experience [education experience (H2a), entertainment experience (H2b), aesthetic experience (H2c), and escapist experience (H2d)] of performing arts on a metaverse platform has a positive effect on perceived usefulness.

H3: The perceived ease of use of a metaverse platform positively affects perceived usefulness.

2.4. Flow

Flow is the best experience that a consumer can have. It refers to the state of physical, psychological, and mental excitement people feel when they are fully immersed, and it can be viewed as a behavioral characteristic that people are unaware of (Csikszentmihalyi et al., 2014; Loepthien & Leipold, 2022). Loepthien and Leipold (2022) claimed that, in performing arts, flow is the state of being completely absorbed in a musical activity.

Applied to the field of performing arts, flow is the best state of immersion experienced by the audience through an individual’s activity when their experience of skills and challenges reaches a certain level (Csikszentmihalyi et al., 2014). To experience flow, the ability and challenge levels of the task or activity being performed must exceed a certain level. As one does it, one experiences flow (Csikszentmihalyi & LeFevre, 1989; Tretyak & Sloev, 2013).

Audiences who perceive the experiential value of performing arts experience flow in a state of immersion that they experience while enjoying the performance (Park et al., 2016). While watching a performance, the audience experiences flow through complex stages, namely a happy psychological state, supreme pleasure, and trance. Flow can appear as a behavioral characteristic that develops through this flow experience. In general, the feeling of intrinsic pleasure and psychological immersion while engaging in a specific activity or using a specific product is called the flow experience, and the positive state of being completely immersed in media due to flow induces a positive attitude in consumers toward that medium in the future (Csikszentmihalyi et al., 2014). In performing arts, flow is the result of the best state of immersion, and the audience experiencing flow feels pleasure in a state of psychological immersion; as a result, the audience dances enthusiastically or claps to express their joy. Their emotions are full and can be expressed completely with their bodies.

In performing arts, active research on flow has been attempted in the fields of music and musicals. The flow of music teachers working with students was investigated (Bakker, 2005). O’Neill (1999) rated the challenges and skills of school music students. Wrigley and Emmerson (2011) investigated the optimal flow in live music performance at a higher music institution in Australia. Flow research has also been attempted in musical composition creativity (Byrne et al., 2003; MacDonald et al., 2006).

Flow implies addictiveness to the experience, and consumption of performing arts can be done with the emotions felt while experiencing the performance in a state of immersion so intense that one loses the feeling of one’s existence. Moreover, since continuous use of performing arts has a close relationship with the flow, flow experience is important to consider in performing arts.

Based on previous studies, the following hypotheses have been proposed to examine the relationship among the experience economy theory of performing arts on a metaverse platform, the TAM, and flow.

H4: Performance experience [education experience (H4a), entertainment experience (H4b), aesthetic experience (H4c), and escapist experience (H4d)] of performing arts on a metaverse platform has a positive effect on flow.

H5: The TAM [perceived ease of use (H5a) and perceived usefulness (H5b)] on a metaverse platform has a positive effect on flow.

2.5. Performance satisfaction and loyalty

Performance satisfaction is the concept of satisfaction acquired by watching a performance. This concept started with that of customer satisfaction in business administration. Customer satisfaction has emerged as an important factor in marketing research since the 1980s, predicting the growth of companies in modern society and establishing itself as a key indicator of competition between companies.

The feeling of satisfaction arises when the fulfillment of consumers’ desires and demands is perceived to be higher than their expectations, while dissatisfaction occurs when expectations are not met. Therefore, performance satisfaction in performing arts is expressed as satisfaction or dissatisfaction with perceived performance while or after watching.

Customer satisfaction is customers’ response to perceived value (Flint et al., 1997), and customers who perceive a high value feel more satisfied (Patterson & Spreng, 1997; Varki & Colgate, 2001). Customer experience value refers to the benefits the audience feels it receives from watching a performing arts event. This customer experience value has been recognized as an important causal variable that induces customer behavior in marketing (Zeithaml, 1988). In particular, since customer experience value affects satisfaction and behavioral intentions, customer experience is evaluated as a more comprehensive concept than beliefs, attitudes, opinions, and fun, and it is recognized as a fundamental and broad concept for evaluating such behaviors.

Solomon et al. (2013) define loyalty as an individual’s expected or planned future behavior; it is the probability that consumer beliefs and attitudes will manifest as behaviors. In this context, loyalty is the probability that consumer attitudes translate into behaviors and refer to an individual’s planned future actions. In general, loyalty is a major variable for measuring performance satisfaction, which, in turn, affects loyalty. According to Newman and Werbel (1973), dissatisfied customers are less likely to repurchase than satisfied customers. Oliver (1980, 1999) also found that customer satisfaction affects positive attitudes and continues to influence revisit intention. Bitner (1990) suggested that a good physical environment increases consumer satisfaction, and the higher the satisfaction, the more positive the consumer’s attitude toward quality, which increases the likelihood of repurchasing.

In other words, loyalty is a result of positive emotions generated by satisfaction with performance, and it may also be affected by the emotions perceived by the audience. When the audience feels satisfied with performing arts, the desire to watch the show again and recommend it to others is induced.

Based on previous studies, to identify factors affecting performance satisfaction and loyalty to performing arts on metaverse platforms, the following hypotheses were proposed:

H6: Performance experience [education experience (H6a), entertainment experience (H6b), aesthetic experience (H6c), and escapist experience (H6d)] of performing arts on a metaverse platform has a positive effect on performance satisfaction.

H7: The TAM [perceived ease of use (H7a) and perceived usefulness (H7b)] on a metaverse platform has a positive effect on performance satisfaction.

H8: Flow has a positive effect on performance satisfaction.

H9: Flow positively affects loyalty to performances on a metaverse platform.

H10: Performance satisfaction positively affects loyalty to performances on a metaverse platform.

3. Method

The study was conducted in accordance with the Declaration of Helsinki and approved by the Ethics Committee of Chung-Ang University (protocol code 1,041,078–202203-HR-099 on 13 June 2022) for studies involving humans. In this study, participants collected informed consent online from participants before the survey. In the case of teenagers, the consent of parents (or legal guardians) was collected.

3.1. Research framework

This study examines the relationship between flow, performance satisfaction, and loyalty, which are the attitudes and behavioral intentions of audiences based on the TAM, which reflects the intention to accept the metaverse platform, this new technology, and the experience value of the audience who watched performances on the platform. Based on this research objective and the study hypothesis, the research model shown in Figure 1 was formulated.

Figure 1. Overall theoretical framework.

3.2. Data

To verify the above-mentioned hypotheses, this study examined the data provided by the study sample, that is, the audience who had watched a performance on a metaverse platform at least once, targeting Koreans in their teens to 30s. The data were collected through an online survey, and a total of 323 copies were collected from June 20 to 24 June 2022 and used for analysis. The survey was conducted upon receiving IRB approval.

The online questionnaire contained two preliminary questions—a service with experience and a metaverse-related service with experience. This helped select an audience who had watched the performance on the metaverse platform at least once (Appendix A).

All items in this questionnaire were measured on a 5-point Likert scale (from 1 = “Strongly disagree” to 5 = “Strongly agree”) l. First, the operational definitions of factors for measuring the value of performing arts experience on the metaverse are as follows. Entertainment experWhile watching a performance, the audience experiences flow ience refers to the degree to which pleasure feelings and playful joy are perceived through the metaverse performance experience (Oh et al., 2007). Educational experience is the perceived degree of knowledge, information, or skill improvement obtained from the metaverse performance experience (Oh et al., 2007; Pine & Gilmore, 1998). Aesthetic experience is the degree to which positive emotions are perceived in places and venues where metaverse performances are held (Oh et al., 2007; Pine & Gilmore, 1998). Lastly, escapist experience refers to the degree to which a person escapes from reality and feels a mysterious and unusual emotion due to the metaverse performance experience (Oh et al., 2007; Pine & Gilmore, 1998). Based on Oh et al. (2007) and Tsai (2015), the items of education experience (5 items), entertainment experience (5 items), aesthetic experience (5 items), and escapist experience (5 items) were analyzed. These items were modified and supplemented to suit the present research context.

Perceived ease of use is the degree to which the audience believes the metaverse platform can be used with no great effort and difficulties (Davis, 1989; Davis et al., 1989; Venkatesh & Davis, 1996). Perceived usefulness is the degree to which one believes it will be useful for individuals to embrace the metaverse (Davis, 1989; Davis et al., 1989). Further, based on the research of Davis (1989) and Venkatesh and Davis (2000), the items of perceived ease of use (5 items) and perceived usefulness (5 items) were measured after being modified and supplemented to fit the present research context.

Flow refers to the degree of immersion in the performing arts shown on the metaverse platform (Loepthien & Leipold, 2022; Nakamura & Csikszentmihalyi, 2002). Based on Hoffman and Novak (1996), M. Park et al. (2010), and Trevino and Webster (1992), the items for flow (5 items) were measured after being modified to fit the situation of performing arts.

Performance satisfaction is the degree to which the audience who watched the performance on the metaverse platform feels satisfied with the performance. Loyalty is the degree of the desire of the audience to rewatch the performance in the metaverse and the desire to recommend the show to others. Based on Gotlieb et al. (1994), Hume and Mort (2010), and Swan and Oliver (1991), the items of performance satisfaction (5 items) and loyalty (5 items) were measured after they were modified and supplemented based on the present research context.

3.3. Data analysis

The data were analyzed using SPSS26.0 and AMOS26.0 statistical package programs. To understand the general characteristics of the participants, a confirmatory factor analysis (CFA) and correlation analysis were performed to measure the reliability and validity of frequency analysis and measurement tools, and structural equation modeling (SEM) was performed to verify the proposed research model (Hong et al., 2003; West et al., 1995; Kim et al., 2020).

4. Results

4.1. General characteristics of the sample

In this study, only Koreans who had watched a metaverse performance at least once were targeted as the sample to identify the factors that affect the audience’s performance satisfaction, rewatching intention, and perception of flow toward the metaverse performance experience. The study sample comprised Koreans in their teens to 30s, and 323 valid questionnaires were collected and used in the final analysis.

The general characteristics of the sample (n = 323) are shown in Table 1.

Table 1. Demographic characteristics

Demographic Characteristic		Frequency Percentage (n = 323)	Demographic Characteristic		Frequency Percentage (n = 323)
Gender	Male	158(48.9%)	Age	14–19(%)	105(32.5%)
				20–29(%)	109(33.7%)
	Female	165(51.1%)
				30–39(%)	109(33.7%)

4.2. Confirmatory factor analysis

CFA was performed to verify the convergent and discriminant validity of the measurement items. Based on estimated validity and reliability, a measurement variable with the Cronbach α value of 0.7 or less would be removed. Hence, one item from each of the educational, entertainment, aesthetic, and escapist variables for measuring performance experience was removed, while two items from perceived ease of use and perceived usefulness for measuring the TAM were removed.

Convergent validity refers to the degree of correlation between one latent factor and two or more measurement items. To verify convergent validity, average variance extracted (AVE) and composite reliability (CR) were used. The AVE and CR values were higher than the recommended standard values of .50 and .70, respectively, so concentrated validity was judged as secure.

Discriminant validity is a criterion for evaluating how one latent factor differs from other latent factors. To determine whether the measurement model satisfies discriminant validity, AVE values for nine latent factors and the square value of the correlation between latent factors were compared. Finally, the discriminant validity was determined as satisfactory (Table 2).

Table 2. Confirmatory factor analysis (n = 323)

Latent Factor		Measurement Variable	Estimate		S.E.	C.R.	α	AVE	CR
			B	β
Experience	Education Experience	Education→ Education1	1	.70	-	-	.80	0.58	0.85
		Education→ Education3	1.04	.70	.09	11.29***
		Education→ Education4	1.14	.75	.09	12.06***
		Education→ Education5	.84	.70	.07	11.30***
	Entertainment Experience	Entertainment→ Entertainment2	1	0.77	-	-	.87	0.67	0.89
		Entertainment→ Entertainment3	1.05	0.79	0.07	14.68***
		Entertainment→ Entertainment4	1.07	0.80	0.07	14.78***
		Entertainment→ Entertainment5	1.09	0.79	0.07	14.69***
	Aesthetic Experience	Aesthetic→ Esthetic1	1	0.79	-	-	.86	0.66	0.89
		Aesthetic→ Esthetic2	0.98	0.79	0.06	15.37***
		Aesthetic→ Esthetic3	0.97	0.78	0.06	15.24***
		Aesthetic→ Esthetic4	0.92	0.74	0.06	14.31***
	Escapist Experience	Escapist→ Escapist1	1	0.79	-		.87	0.57	0.84
		Escapist→ Escapist2	1.37	0.79	0.10	13.26***
		Escapist→ Escapist3	1.35	0.78	0.10	13.18***
		Escapist→ Escapist4	1.15	0.74	0.09	12.74***
TAM	Perceived Ease of Use	Ease of Use→ Ease of Use1	1	0.76	-	-	.82	0.64	0.84
		Ease of Use→ Ease of Use2	1.17	0.82	0.09	13.39***
		Ease of Use→ Ease of Use4	1.04	0.75	0.08	12.52***
	Perceived Usefulness	Usefulness→ Usefulness2	1	0.76	-	-	.76	0.55	0.78
		Usefulness→ Usefulness4	1.002	0.78	0.08	13.34***
		Usefulness→ Usefulness5	0.99	0.65	0.09	11.27***
Flow		Flow→ Flow1	1	.78	-	-	.87	0.61	0.89
		Flow→ Flow2	1.02	.74	.07	13.78***
		Flow→ Flow3	1.08	.79	.07	14.88***
		Flow→ Flow4	.92	.74	.07	13.68***
		Flow→ Flow5	.91	.74	.07	13.75***
Performance Satisfaction		Satisfaction→ Satisfaction1	1	0.76	-	-	.88	0.64	0.90
		Satisfaction→ Satisfaction2	0.99	0.76	.07	14.07***
		Satisfaction→ Satisfaction3	1.11	0.79	.08	14.88***
		Satisfaction→ Satisfaction4	1.003	0.79	.07	14.90***
		Satisfaction→ Satisfaction5	0.88	0.75	.06	13.88***
Loyalty		Loyalty→ Loyalty1	1	0.77	-	-	.89	0.66	0.91
		Loyalty→ Loyalty2	0.95	0.82	0.08	14.85***
		Loyalty→ Loyalty3	1.11	0.77	0.08	13.94***
		Loyalty→ Loyalty4	1.10	0.78	0.08	14.17***
		Loyalty→ Loyalty5	1.01	0.77	0.08	13.92***

S.E.: standard error; C.R.: critical ratio; AVE: average variance extracted; CR: construct reliability; *p < .05, **p < .01, ***p < .001.

4.3. Structure equation model

4.3.1. Hypotheses testing results

The fit of the structural model was found to be satisfactory as χ2/df = 1.75(p < .001), RMSEA = .048, TLI = .93, and CFI = .94. SEM analysis results are presented in Table 3, and the results of hypothesis testing are schematically illustrated in Figure 2.

Figure 2. The estimated structural model.

Table 3. Summary of hypotheses testing results

Path		Estimate		S.E.	C.R.	Supported
		B	β
H1a	Education Experience → Perceived Ease of Use	.22	.20	.19	1.17	No
H1b	Entertainment Experience → Perceived Ease of Use	.20	.20	.14	1.40	No
H1c	Aesthetic Experience → Perceived Ease of Use	−.14	−.14	.19	−.73	No
H1d	Escapist Experience → Perceived Ease of Use	.33	.36	.07	4.49***	Yes
H2a	Education Experience → Perceived Usefulness	.06	.05	.16	.38	No
H2b	Entertainment Experience → Perceived Usefulness	.27	.26	.12	2.25*	Yes
H2c	Aesthetic Experience → Perceived Usefulness	.25	.26	.15	1.64	No
H2d	Escapist Experience→ Perceived Usefulness	.19	.20	.06	3.07**	Yes
H3	Perceived Ease of Use → Perceived Usefulness	.29	.28	.07	4.44***	Yes
H4a	Education Experience → Flow	−.18	−.16	.15	−1.19	No
H4b	Entertainment Experience → Flow	.21	.20	.12	1.78	No
H4c	Aesthetic Experience → Flow	.37	.36	.15	2.38*	Yes
H4d	Escapist Experience → Flow	.10	.10	.06	1.56	No
H5a	Perceived Ease of Use → Flow	.24	.22	.07	3.32***	Yes
H5b	Perceived Usefulness → Flow	.25	.25	.12	2.11*	Yes
H6a	Education Experience → Performance Satisfaction	.02	.01	.11	.13	No
H6b	Entertainment Experience → Performance Satisfaction	.02	.02	.09	.28	No
H6c	Aesthetic Experience → Performance Satisfaction	.49	.50	.12	4.05***	Yes
H6d	Escapist Experience → Performance Satisfaction	.11	.12	.05	2.43*	Yes
H7a	Perceived Ease of Use → Performance Satisfaction	.00	.00	.05	.004	No
H7b	Perceived Usefulness → Performance Satisfaction	.16	.17	.09	1.88	No
H8	Flow → Performance Satisfaction	.24	.24	.07	3.41***	Yes
H9	Flow → Loyalty	−.18	−.21	.12	−1.48	No
H10	Performance Satisfaction → Loyalty	.34	.37	.13	2.71**	Yes
Model Fit	χ2 = 1050.28, df = 599, p < .001, χ2/df = 1.75, RMSEA = .048, TLI = .93, CFI = .94

*p < .05, **p < .01, ***p < .

From our analysis, we found that escape (β = .36, t = 4.49, p < .001) positively affected perceived ease of use, so H1d was supported. In contrast, H1a, H1b, and H1c were rejected because education, entertainment, and aesthetic did not significantly affect perceived ease of use.

Further, entertainment (β = .26, t = 2.25, p < .05), escapist (β = .20, t = 3.07, p < .01), perceived ease of use (β = .28, t = 4.44, p < .001) had a significant effect on perceived usefulness; hence, H2b, H2d, and H3 were supported. Conversely, education (β = .05, t = .38, n.s) and aesthetic (β = .26, t = 1.64, n.s) were found to have insignificant effects on perceived usefulness, so H2a and H2c were rejected.

Regarding flow, aesthetic (β = .36, t = 2.38, p < .05), perceived ease of use (β = .22, t = 3.32, p < .001), perceived usefulness (β = .25, t = 2.11, p < .05) had a positive effect, and H4c, H5a, and H5b were supported. However, education, entertainment, and escape did not significantly affect flow, so H4a, H4b, and H4d were rejected.

From our analysis of the effect on performance satisfaction, aesthetic (β = .50, t = 4.05, p < .001), escape (β = .12, t = 2.43, p < .05), flow (β =. 24, t = 3.41, p < .001) were found to have a significant positive effect, and thus, H6c, H6d, and H8 were supported. However, education performance, entertainment, perceived ease of use, and perceived usefulness did not appear to significantly affect performance satisfaction, and H6a, H6b, H7a, and H7b were rejected.

Lastly, regarding loyalty, performance satisfaction (β = .34, t = 2.71, p < .01) showed a positive effect, so H10 was supported, whereas flow did have a significant effect on loyalty, so H9 was rejected.

5. Discussion and conclusion

5.1. Discussion

This study aimed to provide a conceptual model for the relationship between the audience’s attitudes and behavioral intentions based on the experience value of the audience who watched the performance on the metaverse platform and their intention to accept the platform. By conducting empirical analysis, we aimed to present evidence with implications for establishing a performing arts marketing strategy.

The study results provided the following findings. First, some characteristics of the performance experience of performances on metaverse platforms positively affected Escape was found to have a significant effect on perceived ease of use, and it was confirmed that entertainment and escape affect perceived usefulness. This is consistent with the findings of Davis (1989), who demonstrated that perceived ease of use significantly affects perceived usefulness.

Second, the perceived ease of use and perceived usefulness of the aesthetic of the performance on the metaverse platform had a significant effect on the flow. Aesthetic, escape, and flow in the experience economy based on performances on the metaverse platform significantly affected performance satisfaction. Moreover, it was confirmed that flow had a significant effect on performance satisfaction, and performance satisfaction had a positive effect on loyalty.

5.2. Conclusions

Our analysis results led to the following conclusions. First, among the experience values of the audience who watched a performance on the metaverse platform, entertainment, aesthetic, and escape were well perceived. The new technology of the metaverse platform had a major impact on the audience by providing them with a flow state where they felt immersed in the performance and made active participation. Conversely, the educational experience did not appear significantly in the performance in the metaverse.

It was found that entertainment affects perceived usefulness, which means that the metaverse platform is useful in conveying the overall performance and performance story and inducing pleasant and fun emotions when meeting the performer on the metaverse performance and watching it with other avatars. On the other hand, the reason that entertainment did not have a significant effect on perceived ease of use and only had a significant effect on perceived usefulness was that the entertainment factor is somewhat inconsistent with rational and logical attributes such as the acquisition of metaverse use, but consistent with effective service. In general, the audience judged that the metaverse’s services were useful. In other words, it seems to have positively impacted performances that can be performed with others, making new discoveries about pleasant relationships with others in a comprehensive way.

Aesthetic was found to affect flow and performance satisfaction, and it was confirmed that the mystery and fantasy of space composition for performance within the metaverse lead to performance immersion and performance satisfaction. Thus, it was confirmed that the value of consumer experience varies according to the physical environment or atmosphere of the performance space. In general, the aesthetic of the stage and facilities, which were in harmony with the performance, and the interior and atmosphere of the venue prompted the audience’s anticipation for the performance, producing comfort, stability, and mystery, and these can induce positive attitudes of the audience toward the performance. In other words, it can be seen that the higher the aesthetic, the higher the audience’s satisfaction with the flow and service experience while immersed in the performance. The main characteristics of a metaverse platform are unlimited scalability and a high degree of freedom. Therefore, it was concluded that it would be easier to create a space and harmonize the stage, facilities, interior, and atmosphere for metaverse platform performances than an offline performance. Therefore, it is necessary to think about ways to improve the aesthetic for the audience to allow flow to be experienced smoothly.

Escape significantly affected perceived ease of use, and it was confirmed that it was a factor that could be recognized as easier and more useful for metaverse performances. Metaverse performances can also be considered a part of the virtual world since the escapist experience in virtual reality is more real than reality. In other words, the greater the sense of escape, the more comfortable the audiences feel with the metaverse functioning as a background element in the composition of the performance. Moreover, escape had a significant effect on perceived usefulness. It is believed that the deeper the experience of virtual reality, the more useful it will be in the audience’s life as it strengthens the connection between actual reality and virtual reality. In summary, the higher the degree of escapism, the greater the convenience of using the metaverse and the higher the likelihood that it will have a lasting effect on the audience even after they return to their daily lives. Escape also had a significant effect on performance satisfaction. Escape is a factor that can provide a positive perception of the metaverse, and when watching a performance in the metaverse, it can promote the satisfaction of the audience without causing any objection. Escape lies in the sense of realism that enhances immersion into the virtual world, so it is important to reinforce these factors.

Second, perceived ease of use and perceived usefulness, which explain the TAM, affected the flow and performance satisfaction of the audience who watched the performance on the metaverse platform. Perceived ease of use had a significant effect on perceived usefulness and flow. Based on the research results of the TAM, perceived ease of use has a significant positive effect on perceived usefulness. The convenience of using the metaverse leads to the usefulness of watching metaverse performances. Here, it is interpreted that technical convenience, familiarity, and unnecessary effort in watching performances using the metaverse platform leads to perceived usefulness, such as effective service, and overall usefulness, such as the delivery of performance stories. It is desirable to recognize the perceived ease of use as a variable that can synergistically affect a complementary relationship with the perceived usefulness as a pre-factor that ultimately increases the audience’s flow.

Further, the perceived ease of use significantly affects the flow. The more comfortable the technology used to watch performances on a metaverse platform, the more flow can be immersed in, absorbed in, and devoted to the performance. In other words, the less reluctant an audience is to use the metaverse, the more immersed the audience will be when watching a metaverse performance.

Perceived usefulness significantly affected flow, which seems to have affected the flow of immersion, concentration, and other aspects when watching a metaverse performance. This is due to the effective service and delivery of performance content offered by metaverse platforms. In other words, the more useful the metaverse effects are emphasized to the audience, the more immersed the audience is while watching performances on a metaverse platform.

Third, focusing on the audience’s behavior and attitude, flow had a significant effect on performance satisfaction, while performance satisfaction had a significant effect on loyalty. This indicates that the behavioral aspects of flow affect the mental aspects of performance satisfaction, and the higher the level of performance satisfaction, the greater audience loyalty. This means that an audience’s experience of behavioral immersion like flow, which gives an audience a vivid sense of presence and participation in the concert hall, creates a good impression and feeling for emotions in the audience and directly affects performance satisfaction. Therefore, it is suggested that an audience that has experienced flow, an immersive element producing enjoyment and the desire to act, have positive feelings about and memories of the performance, and this performance satisfaction has a greater positive effect on loyalty.

Flow had a significant effect on performance satisfaction. Satisfaction with a metaverse performance increases when immersion is greater. Additionally, flow can secure the path of performance satisfaction from the perceived ease of use and perceived usefulness of the TAM. The higher the perceived ease of use and perceived usefulness, the more flow is experienced during the performance, but the perceived ease of use and perceived usefulness do not directly lead to performance satisfaction. However, it was confirmed that the significant path for perceived ease of use and perceived usefulness to affect performance satisfaction is when flow plays a mediating role. Thus, increased flow during a metaverse performance has a positive effect in various ways. Therefore, if there are time and cost limitations, relatively strengthening the flow can be an effective strategy when planning a metaverse performance.

On the other hand, perceived ease of use and perceived usefulness did not significantly affect performance satisfaction. This means that even if staging a performance on a metaverse platform is perceived as more convenient and useful, and this does not lead directly to performance satisfaction. In other words, satisfaction with a performance using the metaverse platform should be judged separately from its practicality, and it is still necessary to continuously consider the essential aspects of the performance genre and the utilization of the metaverse platform.

Performance satisfaction had a significant effect on loyalty. This reconfirmed the importance of the prior variable of performance satisfaction for inducing loyalty highlighted in previous studies. The implications based on the analysis results are as follows. The industry and academia are increasingly interested in the metaverse, a representative non-face-to-face environment where users more actively engage with one another, and empirical studies of audiences’ perceptions of metaverse performances have not yet been conducted. Therefore, this study is meaningful because it expands the academic field and provides theoretical support; it does by through its empirical findings, which can explain future changes in attitude.

This study has many important implications. First, this demonstrates that spatial marketing and experiential marketing should be considered in performing arts marketing using the metaverse. Space in the metaverse is infinite, and the platform has a structure within which anything can be made. The space, buildings, concert halls, stages, objects, avatars, and props worn by the avatars can be used as marketing tools. In marketing, it is also important to let customers experience and directly feel the value of the brand. Within the metaverse, audience experiences can be customized more interactively, and the elements in performances that can be enjoyed in different spatial dimensions must be strengthened. In other words, it is necessary to devise measures that the audience can use to react to the performance by planning the performances and the signature dance moves and emoticons that are unique to each metaverse performance. Therefore, performance marketers must be more imaginative to enhance the aesthetic structure and experiential elements of the performance space in the metaverse for the audience’s sake.

Second, escape had a major impact on the audience who watched the performance on the metaverse platform, inducing in them the feeling that they were in a different spatial dimension. When a person felt unusual during a metaverse performance, a direct or indirect chain reaction positively affected their loyalty to the show by recommending it to others or expressing rewatch intentions. When planning a performance, a few advance notices should be given to the audience so that they can focus on watching the performance, such as requesting that they turn off their mobile phones or wear a headset while watching the performance; alternatively, the performance time can be shortened by removing intermissions to reduce the scope of interference in the real world during the performance. Concerning intermissions, we need to consider ways of preserving the audience’s flow for the whole performance; for example, we can make them play a game on the metaverse platform during an intermission.

Third, this study found that when an audience experiences flow during a metaverse performance, they are immersed in the performance and have an active experience, which significantly affects performance satisfaction. It was confirmed that in such cases, viewing intention increased. Thus, it was confirmed that positive influences occur in different forms when flow is generated from a metaverse performance. Confirming that the flow variable increases satisfaction with a metaverse performance indicates that the rise in flow awareness leads to greater consumption and satisfaction and a more positive attitude toward the related content, as also demonstrated in previous studies. These results suggest that it is necessary to actively discover factors that enhance the flow during audience development to vitalize metaverse performances.

Lastly, metaverse platform performances began to be held because of COVID-19 restrictions. Performances using the metaverse have the potential to further promote the immersion and emotion that the audience feels while watching the performance, which is expected to contribute to the revitalization of the stagnant performance market. Therefore, even if it seems somewhat heterogeneous and complex, continuous attempts to incorporate technology into performing arts are needed as the industry and academia are increasingly interested in the metaverse. However, an empirical study of audiences’ perceptions concerning performances on metaverse platforms has not yet been conducted. This study provides such an empirical investigation, so its results are significant for the field. Nevertheless, the limitations of this study and future research directions stemming from its results are as follows. First, metaverse performances give audiences greater immersion and excitement, cultivating audience interest. However, since this study is one of the first related to metaverse performances, it only targeted audiences in their teens to 30s, representing the younger generation making the most of the metaverse. However, seniors have active access to performing arts, and thus, this generation can become new users of the metaverse and are also worth researching. Therefore, we suggest future researchers expand the sample to include participants in their 40s or older who have watched performing arts in the metaverse.

Finally, to examine the attitudes and behavioral intentions of audiences who have watched a metaverse performance, only the performance experience value and TAM were considered as preceding factors affecting performance satisfaction and loyalty, which is a limitation. In other words, as the antecedent factors affecting the attitude and behavioral intention of the audience, various environmental and technological factors, such as the characteristics of the performance content, the performance genre, and the type and characteristics of the metaverse platform, should be considered in future research. This will produce research of great academic and practical significance.

Institutional review board statement

The study was conducted in accordance with the Declaration of Helsinki and approved by the Ethics Committee of Chung-Ang University (protocol code 1,041,078-202,203-HR-099 on 13 June 2022) for studies involving human participants.

Acknowledgements

We want to thank the survey company Embrain (www.embrain.com) for their assistance in data collection. We also thank Editage (www.editage.co.kr) for English language editing.

Disclosure statement

No potential conflict of interest was reported by the author(s).

Additional information

Funding

This research was partly funded by Chung-Ang University, Humanities Research Institute. This work was supported by the Ministry of Education of the Republic of Korea and the National Research Foundation of Korea (NRF-2017S1A6A3A01078538).

Notes on contributors

Seol Hwang

Seol Hwang has a Ph.D. in Arts Science and majored in Arts Management.

GeunWoo Koo

GeunWoo Koo is currently a BFA student in Arts management and working as a business developer at Com2Verse and studied arts management and are currently interested in the metaverse and performing arts. In addition, their main research activity is to propose a marketing strategy for the performing arts by analyzing audience perception changes. We believe that this paper will be of interest to the readership of your journal because the study topic is interdisciplinary, with an intersection of the fields of digital media, culture, and marketing due to its focus on the metaverse, performing arts, and performing arts marketing. The findings are important because, along with their many theoretical and practical implications, they open new research avenues for future studies to explore the metaverse as it applies to performing arts for marketing.

Appendix A.

Questionnaire items

Table

Questionnaire Item
Education Experience	Watching performances on the metaverse platform allowed me to experience a new culture. Watching performances on the metaverse platform led to knowledge improvement. Watching performances on the metaverse platform stimulated my curiosity to learn new things. Watching performances on the metaverse platform became an opportunity to learn about performing arts. Watching performances on the metaverse platform was an opportunity to learn about the metaverse platform.
Entertainment Experience	When watching performances on the metaverse platform, various aspects were attractive. When watching a performance on the metaverse platform, it was fun to see artists and other avatars participating in the performance. When watching a performance on the metaverse platform, it was fun to see artists and other avatars participating in the performance. When watching a performance on the metaverse platform, it was pleasant to see artists and other avatars participating in the performance. When watching a performance on the metaverse platform, it was interesting to see artists and other avatars participating in the performance.
Aesthetic Experience	The performance space on the metaverse platform was attractive. The performance space on the metaverse platform caught my interest. The performance space on the metaverse platform caught my attention. The performance space on the metaverse platform gave me pleasure. Just accessing the performance space on the metaverse platform made me feel better.
Escapist Experience	While watching a performance on the metaverse platform, I discovered another me. Watching a performance on the metaverse platform, I completely escaped from my daily life. Watching the performance on the metaverse platform made me feel as if I had become a different person. Watching the performance on the metaverse platform made me feel as if I was in another world. It made me feel like I was in a different place or time while watching the performance on the metaverse platform.
Perceived Ease of Use	The metaverse platform is easy to use. How to use the Metaverse platform is clear and simple. It does not take long to get used to using the metaverse. It is easy to understand how to use the metaverse platform. The metaverse platform makes it easy to get the information I want.
Perceived Usefulness	The metaverse platform is efficient. The metaverse platform is practically helpful to my life. Metaverse’s platform can enhance my imagination and creativity. Considering the recent social context, the use of the metaverse platform is useful. The metaverse platform is suitable for using the services or content I want.
Flow	When watching a performance on the metaverse platform, I or my avatar thoroughly enjoyed it. When watching a performance on the metaverse platform, I or my avatar actively applauded. When watching a performance on the metaverse platform, I or my avatar actively cheered me on (e.g., using emoticons). When watching a performance on the metaverse platform, I or my avatar actively followed the instructions of the host or artist. When watching a performance on the metaverse platform, I or my avatar actively responded to the instructions of the host or artist.
Performance Satisfaction	Watching the performance on the metaverse platform was beneficial. It was good to watch the performance on the metaverse platform. Watching a performance on the metaverse platform met my expectations. I felt happy while watching the performance on the metaverse platform. Overall, I was satisfied with viewing the performance on the metaverse platform.
Loyalty	I want to continue to watch performances on the metaverse platform. If there are other performances on the metaverse platform, I would like to see them. If other performances utilize the metaverse platform, I would like to recommend (or recommend) them to the people around me. If there is a performance (same as before) that uses the (same as before) metaverse platform that I have seen, I would like to see it again. If there is a performance (same as before) that I have seen that utilizes the (same as before) metaverse platform, I would like to recommend (or recommend) it to the people around me.