• Title, Summary, Keyword: 극의 형식

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Study on Narrators in the Realism Plays -Our Town and A View from the Bridge (사실주의 연극의 Narrator 연구 - Our Town과 A View from the Bridge의 경우)

  • Oh, Soonmo
    • Journal of Digital Convergence
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    • v.15 no.4
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    • pp.395-403
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    • 2017
  • Narrators used to take an important role in the theatre of ancient Greece. They gave the audience an important information, explained the situations and conflicts between characters by talking to the audience directly. But in the realism play in the 20th century, which is represented as the 'fourth wall,' anything that can interrupt commitments of the audience such as a narrator, was excluded. However the two representative playwright in the 20th century, Thorton Wilder and Arthur Miller took narrators in their plays, Our Town and A View form the Bridge. This study shows why they adopted narrators in their play, which was unusual at that time and how this form of narrator affects to the meaning of the plays.

A Study On The Identity Of Yeonsegeuk(Kino-Drama) (연쇄극의 정체성 논의 - 총체예술론적 관점에서 -)

  • Kim, Sunam
    • (The) Research of the performance art and culture
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    • no.25
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    • pp.5-30
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    • 2012
  • I. Identity of Yeonsegeuk as total arts. The purpose of the thesis is to arrange the identy of Yeonsegeuk(Kino-Drama) which is theatre or film. The process of study is tried to discuss on the aethetic of Yeonsegeuk. II. Appearance of Yeonsegeuk and negative disputation of yeonsegeuk The first imported Yeonsegeuk from Japanese in Korea is made by the group of Mizuno Ganggetsu(水野觀月) on Oct. 16. 1915 at Pusan and also to run in Seoul at Hwanggeumgwan. The first of Korean Yeonsegeuk is by Kim, Dosan, a leader of Singeukjwa(theare group) on Oct. 27. 1919 at Danseongsa. Before the liberation of Korea from Japan all made korean Yeonsegeuk are 28 works. III. Dramatic form of Yeonsegeuk I study on the relation between Yeonsegeuik and Sinpageuik(new theatre of modern drama in 1920's). I find that Yeonsegeuik admitted the thechnics of the Sinpageuik and the contents. If We think that the theatre is synthetic art which genealize all arts, we can insist that the Yeonsegeuk is valued the total art as new performance to comply with film art to theatre. Conclusionly Yeonsegeuk is called 'Expanded Theatre' as the new performance which must be dicussed in the view of total art. VI. Discussion on the the aethetic of Yeonsegeuk When we compare the structure of film with the structure of theatre, we can't find a diffrent element between the structure of two art in art semiotic. But we find a fact that film art has special elements in mechanics character which are camera working and motage. These technics influence on the audience's mind. It is different point between Japan and Korean's Kino-drama and Germany's that is to admit the aethetic of total art or not. V. Yeonsegeuk as new performance During Korean modern times Kino-drama was first a kind of total art with stage and screen. But it is regretable that Kino-drama didn't have the background of theory which discourse on the comprehension of total art. As the result Kino-drama bring the confusion of argument that Kino-drama is total art or expanded theatre. This confusion will be disputed on film art as performing arts or future art as expanded film and total art.

Creating Theatrical Contents Out of Stage Adaptation of Dongrae-yaru (동래야류의 무대적 수용에 의한 연극 콘텐츠 창출)

  • Lee, Ki-Ho
    • The Journal of the Korea Contents Association
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    • v.11 no.1
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    • pp.165-175
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    • 2011
  • The purpose of this research is to investigate the possibility of creating new theatrical contents by performance anthropological approach. Today's traditional performing arts are historically descended and developed in the forms of Ahk, Hee, and Geuk. Among those, Dongrae-yaru is a traditional mask dance, handed down in Dongrae, Pusan and appointed as the 18th intangible cultural asset. Its performance is carried out in the juxtaposition of Ahk, Hee, and Geuk. Korean theatre in the 21st century seems going back to realism after going through post-modern cultural phenomenons. However, the quest for alternative theatre is raised higher than ever. As a part of this strive, this paper asserts the traditional performing arts should be investigated as an alternative and new theatrical form. Among those traditional performing arts, Dongrae-yaru is selected for its well balanced combination of Ahk, Hee, and Geuk. The study examines in depth how each element of Ahk, Hee, and Geuk, they are expressed in forms of folk music, refined dance, jest, satire, wit. Its investigation on the stage adaptation provides the possibility for the new style and codification as the new theatre contents.

A Study on Visual Design in the Peking Opera representation form (중국 경극 표현에 관한 시각화 분석연구)

  • lu, Jing Jing;lee, Chang Keun
    • Proceedings of the Korea Contents Association Conference
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    • pp.475-477
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    • 2010
  • 경극은 중국의 전통극 중 하나이다. 경극의 영어 명칭은 'peking Opera'다. 경극의 "분장"은 희극에서 배우들이 얼굴에 하는 채색 화장을 가리킨다. 경극 배우들의 얼굴 분장을 '검보'라고 한다. 형태, 색채와 유형 면에서 특별한 양식을 갖춘다. 본 논문은 중국에 전하는 가면극의 외면적 표현 형태를 시각디자인 조형영역 분석을 통해 학문적 가치를 창출하는데 목적이 있다. 본 논문의 연구 영역은 경극의 유래, 색채, 형식적 측면에 대한 조형분석과 가면의 표현형식, 즉 표형기법, 색상구성, 형태구성, 역할특성 등의 구성형식을 조형적 분석 틀에 의해 분석하고자 한다. 가면 얼굴의 대표문양 분석을 통해 단순화 표현형식으로 작품을 만들어 연구하고자 한다. 분 논문의 의의는 중국 전통경극의 집중적 연구의 결과 추출을 통해 한국의 유사 전통탈춤과 비교하는 연구의 귀중한 자료로 예측되기에 본 연구를 진행하였다.

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Eclectic Music Idiom in Changgeuk "Medea" (창극 <메디아>의 절충주의 음악어법)

  • Shin, Sa-Bin;Lee, Woo-Chang
    • The Journal of the Korea Contents Association
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    • v.13 no.12
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    • pp.659-671
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    • 2013
  • Through Korean traditional opera (changgeuk) Medea, composer Hwang Ho-jun showed eclectic music idiom by 1) writing music (jakchang) on manuscript paper and score, 2) introducing the "song-through" format, 3) including various solo melodies, 4) maximizing the effect created by a singing narrator (dochang) with the chorus master and a mixed chorus, 5) seeking an interplay of tension and release by using both discord and chord, 6) achieving the effect of kil-bakkum, the Korean traditional method of modulation, through modulation and borrowed chord of Western music. In Medea, instrumentalists adopted suseong-banju (Korean traditional accompaniment) which does not spoil the voice of singers. Hwang adopted song for the way how singers express various hidden sides of play among song, aniri (narration) and balim (gesture) and introduced the Sung-through format in which the play is comprised entirely of song. In Medea, oral sounds expressing wail, lament, cheer, sneer and scream are often used and various solo melodies appear that fit for personalities of characters, clearly showing what bunchang (singers' singing songs divided according to characters) is all about. And discord and chord are effectively used according to the development and mood of play. Hwang also achieved successfully the effect of kil-bakkum by abandoning the traditional modulation method and boldly introducing modulation and borrowed chord of Western music.

Cleavage Pattern of Urechis unicinctus Eggs in Vitro Fertilization (인공수정에 의한 Urechis unicinctus 난자의 난할형식)

  • Shin, Kil-Sang;Lee, Dae-Hee;Ko, Tae-Young
    • Applied Microscopy
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    • v.34 no.1
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    • pp.71-81
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    • 2004
  • When U. unicinctus mature oocytes were fertilized in vitro, germinal vesicle breakdown (GVBD) and meioses occurred and the zygotes entered cleavage stage. A modified pattern of spiral cleavages, suggestively based on behavior of mitotic spindles, have been observed in this work. The first and second cleavages were meridional and the third was equatorial, and then followed by repetitions of meridional-equatorial cleavage. The cleavage of the isolecithal egg were equal and holoblastic and its patterns were spiral. The anti-${\alpha}-,-{\beta}$- tubulin reactions and confocal microscopy revealed mitotic apparates tilted obliquely at each mitosis causing oblique displacements of the blastomeres. Despite isolecithal distribution of yolk, this observations implicated that tilting of mitotic apparates induced spiral cleavage and the displacements of blastomeres. However, these features would not be the typical spiral cleavage, but represented a modified pattern of known Spiralian s in the sense of the equal cleavage. During the first cleavage, heart-shaped eggs have been produced. Electron microscopies exhibited the first cleavage furrow extended with its membranous structure deeply into the cytoplasm. Contractile ring has not been observed.

The applicable test program of low-voltage circuit breaker for variants according to international standard (산업용 저압차단기의 국제 규격에 따른 인정 프로그램 적용)

  • Lee, Dong-Jun
    • Proceedings of the KIEE Conference
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    • pp.1039-1040
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    • 2011
  • IEC 60947-2는 산업용 저압차단기와 관련한 국제 규격이다. UL 규격을 사용하는 미국, 캐나다, 멕시코를 제외한 전 세계적으로 통용되는 규격으로서, 실질적으로 우리나라도 IEC 60947-2를 번역하여 사용하고 있다. 이 규격은 현재 4.1판까지 발행되어 있으며 Amendment 2의 CDV가 이미 배포되어 5월 20일까지 각국의 투표가 진행되었으며, 큰 이변이 없는 한 통과될 전망이다. 그동안 4.1판에서는 다극 차단기의 형식시험(Type test)시에 인정시험 범위가 3극과 4극에서만 국한되었지만, Amendment 2에서는 단극과 2극 차단기까지 범위가 확대되어 앞으로 활성화 될 전망이다. 본 논문에서는 현재 진행되고 있는 Amendment 2 내용 중 다극 차단기의 인정 프로그램에 대한 소개와 적용법등을 기술하였다.

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Studies of the Non-Realistic Acting in Absurd Drama 'Fando et Lis' (부조리극 환도와 리스에 나타난 비사실주의 연기에 관한 연구)

  • Park, Kun-Soo
    • The Journal of the Korea Contents Association
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    • v.14 no.4
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    • pp.78-85
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    • 2014
  • Europeans experienced the horror and cruelty of war through the first and second World Wars. They began to raise fundamental questions and doubt about the preexisting World Order of God and humans leading to the birth of Existentialism. The Theater of the Absurd is one of the genres in theater resulting from the existentialist theories. The Theater of the Absurd has a format opposed to the traditional Realist Theater and emphasize the absurdity of human and society's existence. In particular, Fernando Arrabal who is a French Absurdist playwright, expressed the absurd human conditions using his unique forms and contents and his work 'Fando et Lis' depicts the absurdity of the adult world through the eyes of a child. Many unrealistic elements typical and inherent in the Absurdist plays are present in his work. Especially, the actors were required to apply not only the realistic acting approach but also to study and analyze characteristics of all Absurdist plays and internalize them based on the creative foundation of recreation. Then, they were asked to examine the characters' personality, emotions, and actions and think hard about creating an unrealistic action of voice and movements. This creative process by actors is a must in developing the reliable and trustworthy Absurdist acting.

Formal Characteristics of Joseon Films in the Early 1920s (1920년대 초반 조선영화의 형식적 특징)

  • Han, Sang-Eon;Chung, Tae-Soo
    • The Journal of the Korea Contents Association
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    • v.13 no.12
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    • pp.117-125
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    • 2013
  • Early 1920s, Joseon film production began with Japanese colonial rule organization and expanded into civilian. These films were influenced by the documentary film what recorded the scenery and the custom also influenced by kino drama that displayed the place of a dramatic incident. So these films developed into the form emphasize on place. At that time, hollywood serial films were popular. So the first Joseon films shooted a picturesque place and a landmark of the city in the background where heros took a risk. In the style stakes, Joseon films looked very similar to Japanese films. shooted long-take and long-shot, it had rhythm with narration of benshi and emphasized on visual excitation by using color. Early 1920s Joseon films which were similar to Japanese films changed from Japanese style to Hollywood style caused by Na woon-kyu's .

Reconsidering the Formal Accounts of Continuity in the Theory-Change from Newtonian to Einsteinian Physics

  • Yang, Kyoung-Eun
    • Korean Journal of Logic
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    • v.12 no.2
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    • pp.171-199
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    • 2009
  • This essay will consider evolutionary views that attempt to capture the continuity of theory-change from Newtonian to Einsteinian physics via the formal aspects of these theories. Although it cannot be denied that the formal aspects such as 'correspondence principles' and 'covariance principles' provide important information concerning this theory-change, these formal properties are not sufficient to capture the essential elements of any evolutionary account of the development of Einstein's special and general theories of relativity from Newtonian mechanics.

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