This appendix gives the sixteen inquiries the paper read, in the order of the case list, word for word in the English translation made once for this study from Dionyas's Korean. All sixteen are general review designs that name no artist, show, venue, city or period, and none carries a judgment; Dionyas publishes them as editorial question designs and does not say who drafted them. Under the first record of each domain every field is given except the second need; the later records give their title and question, the rest being the lines of their domain. The second need, on the subject under review, the period, the terms of comparison and counter-examples, is the one line not quoted here.
Ensemble and presence
Dionyas inquiry inquiry:performance:01, a general review design whose leading domain is stage and performance, with no judgment, at https://dionyas.risconlabs.com/research?inquiry=inquiry%3Aperformance%3A01.
Precise ensemble and individual presence
When the group choreography is highly accurate but the members leave no impression, how can the movement paths, the gaze and the individual sections be read differently?
Stage and performance · a general review design. The artist, work, market and period it applies to are named when it is recorded.
The conditions of the show, the actual stage and several interpretations of the same passage
Does not compare edited video and the experience on site as if under the same conditions.
Question designed · awaiting inquiry
Fancam and full stage
Dionyas inquiry inquiry:performance:02, a general review design whose leading domain is stage and performance, with no judgment, at https://dionyas.risconlabs.com/research?inquiry=inquiry%3Aperformance%3A02; its scope, needs, boundary and state are those of its domain, word for word as given under Ensemble and presence.
The different stories of the fancam and the full stage
When a scene that is strong in a member's fancam looks weak on the full stage, how do the appeal the camera made and the appeal of the show's composition differ?
The risk of live
Dionyas inquiry inquiry:performance:03, a general review design whose leading domain is stage and performance, with no judgment, at https://dionyas.risconlabs.com/research?inquiry=inquiry%3Aperformance%3A03; its scope, needs, boundary and state are those of its domain, word for word as given under Ensemble and presence.
The persuasiveness that the risk of live performance gives
If the audience's immersion differs between a perfectly controlled stage and a live show with small variables, what makes liveness, and what is a safety problem?
Song and dance
Dionyas inquiry inquiry:performance:04, a general review design whose leading domain is stage and performance, with no judgment, at https://dionyas.risconlabs.com/research?inquiry=inquiry%3Aperformance%3A04; its scope, needs, boundary and state are those of its domain, word for word as given under Ensemble and presence.
The priority between song and dance
In a passage where highly difficult movements weaken the delivery of the vocals, which movements, breathing and arrangement can be changed to keep the song's core emotion?
The first three songs
Dionyas inquiry inquiry:performance:05, a general review design whose leading domain is stage and performance, with no judgment, at https://dionyas.risconlabs.com/research?inquiry=inquiry%3Aperformance%3A05; its scope, needs, boundary and state are those of its domain, word for word as given under Ensemble and presence.
The first three songs before an unfamiliar audience
When a fan-centred show and a festival begin with the same set, what is different about the first connection needed by an audience that does not know the artist?
Words between numbers
Dionyas inquiry inquiry:performance:06, a general review design whose leading domain is stage and performance, with no judgment, at https://dionyas.risconlabs.com/research?inquiry=inquiry%3Aperformance%3A06; its scope, needs, boundary and state are those of its domain, word for word as given under Ensemble and presence.
What the words between numbers leave behind
Comparing the cases where remarks between songs raise immersion with those where they break the flow, which role matters among information, persona and rapport on site?
Change on tour
Dionyas inquiry inquiry:performance:07, a general review design whose leading domain is stage and performance, with no judgment, at https://dionyas.risconlabs.com/research?inquiry=inquiry%3Aperformance%3A07; its scope, needs, boundary and state are those of its domain, word for word as given under Ensemble and presence.
Change within repeated performances
What different effects do the ad-libs, tempos and breathing that changed while the same tour went on in several cities have on the audience's experience and on the burden on the artist?
Small stage made large
Dionyas inquiry inquiry:performance:08, a general review design whose leading domain is stage and performance, with no judgment, at https://dionyas.risconlabs.com/research?inquiry=inquiry%3Aperformance%3A08; its scope, needs, boundary and state are those of its domain, word for word as given under Ensemble and presence.
How to move a small stage onto a large one
When a show in which the gaze at close range and silence matter is moved to a large venue, what experience cannot be preserved by video, sound or movement paths?
The denominator of sold out
Dionyas inquiry inquiry:live:01, a general review design whose leading domain is shows and touring, with no judgment, at https://dionyas.risconlabs.com/research?inquiry=inquiry%3Alive%3A01.
The denominator of the word sold out
When reading an announcement that a show has sold out, if the initial supply, added seats, invitations and seats held back from sale are told apart, how far can one speak about actual demand?
Shows and touring · a general review design. The artist, work, market and period it applies to are named when it is recorded.
Supply, admissions, prices, schedules, costs and return visits for each show
The number of admissions is not the number of unique fans, and gross revenue is not profit.
Question designed · awaiting inquiry
Price and the audience
Dionyas inquiry inquiry:live:02, a general review design whose leading domain is shows and touring, with no judgment, at https://dionyas.risconlabs.com/research?inquiry=inquiry%3Alive%3A02; its scope, needs, boundary and state are those of its domain, word for word as given under The denominator of sold out.
The make-up of the audience that price changed
When ticket prices are raised in the same city, how do gross revenue and new audiences, return visits and fans' experience of access each change?
One big show or three small
Dionyas inquiry inquiry:live:03, a general review design whose leading domain is shows and touring, with no judgment, at https://dionyas.risconlabs.com/research?inquiry=inquiry%3Alive%3A03; its scope, needs, boundary and state are those of its domain, word for word as given under The denominator of sold out.
One big show and several small ones
When comparing one show at a large venue with three shows at a small venue, what are the differences among cost, demand, the close experience and the burden on the artist?
Between tour cities
Dionyas inquiry inquiry:live:04, a general review design whose leading domain is shows and touring, with no judgment, at https://dionyas.risconlabs.com/research?inquiry=inquiry%3Alive%3A04; its scope, needs, boundary and state are those of its domain, word for word as given under The denominator of sold out.
Movement between tour cities
Whether shows in neighbouring cities share the same audience or reach listeners in other regions: by what aggregate count that identifies no individual can this be checked?
Experience and reputation
Dionyas inquiry inquiry:live:05, a general review design whose leading domain is shows and touring, with no judgment, at https://dionyas.risconlabs.com/research?inquiry=inquiry%3Alive%3A05; its scope, needs, boundary and state are those of its domain, word for word as given under The denominator of sold out.
How the experience on site stays in a reputation
At a show where musical praise exists together with complaints about entry, sightlines and sound, how are the responsibilities of the artist and of the operator to be separated?
A first tour's gains
Dionyas inquiry inquiry:live:06, a general review design whose leading domain is shows and touring, with no judgment, at https://dionyas.risconlabs.com/research?inquiry=inquiry%3Alive%3A06; its scope, needs, boundary and state are those of its domain, word for word as given under The denominator of sold out.
What a first tour achieves outside profit and loss
If a first tour that fell short of its break-even point left an audience, local partners and performing capacity for the next activity, how is this to be recorded separately from the loss?
Twelve weeks after
Dionyas inquiry inquiry:live:07, a general review design whose leading domain is shows and touring, with no judgment, at https://dionyas.risconlabs.com/research?inquiry=inquiry%3Alive%3A07; its scope, needs, boundary and state are those of its domain, word for word as given under The denominator of sold out.
The relationship in the 12 weeks after a show
When, after a tour ends, repeat listening, merchandise purchases and waiting for the next show in that city move differently from one another, what relationship can be said to have remained?
Trust after cancellation
Dionyas inquiry inquiry:live:08, a general review design whose leading domain is shows and touring, with no judgment, at https://dionyas.risconlabs.com/research?inquiry=inquiry%3Alive%3A08; its scope, needs, boundary and state are those of its domain, word for word as given under The denominator of sold out.
Trust after a cancellation
When a show is cancelled or rescheduled, what conditional effect can the speed and manner of handling refunds, notices and substitute experiences have on the intention to book afterwards?