• (The) Research of the performance art and culture
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• no.18
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• pp.379-412
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• 2009

According to "Jinjak-yigwe(進爵儀軌)", a special banquet was held at Yungyungdang(演慶堂, a kind of royal theatre) to celebrate the 40th birthday of Queen Soonwon(純元王后) in 1828. This banquet is famous for the presentation of nineteen new Jungjae(呈才) repertoires that the Crown Prince Hyomyung(孝明) created. In order to explore the theoretical basis for the reproduction and presentation of Yungyungdang(演慶堂) Jinjak(進爵, a type of royal banquets), in this article, the imagination and experience of the presentation of Yungyungdang Jinjak are pursued, while focussing on audience's reception. In Yungyungdang Jinjak, King Soonjo(純祖), Queen Soonwon and the prince were the special audience; they participated in the procedure of Ye(禮, etiquette of ceremony) and also were considered as the characters of certain repertoire of Jungjae. Hyomyung arranged the spectacles from the myths of Taoist gods and immortal hermits, as well as historic episodes of the past emperors' elegant tastes of music. These mythic and historic images lead the audience toward the imagination and experience on the transcendental world. Hyomyung, managing the administration as the representative of King Soonjo, tried to show absolute royal authority through the splendid performances of Yungyungdang Jinjak, so as to overcome the politicaly difficult situation. He set up the sacred world for his father King Soonjo, distinct from the secular ordinary world, and emphasized his position as the bridge between the two sides. He expressed his filial duty through the devotion of performing arts to display absolute royal authority.

• The Journal of the Korea Contents Association
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• v.15 no.12
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• pp.121-128
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• 2015

This study analyzes the space in A Brighter Summer Day, covering the meaning of space from inside to outside of the film extended. A violent spaces in the inside causes Xiao Si'r's homicide, including society, house, and school. In the external space, the film's form presents director's attitude and will resisting against dominant system of society with an audience's space. The audience join the space being the director's intention, actively interpreting this film, doing self-reflection and taking an opportunity for social participation.

• 한국HCI학회:학술대회논문집
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• 2007.02b
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• pp.484-488
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• 2007

연극이라는 것은 복합적인 표현예술장르로 하나의 요소가 아닌 여러 가지의 요소들아 합쳐져 연극이라는 예술작품을 만들게 되어 있다. 현대의 연극공연에서 영상의 비중은 날로 높아지고 있다. 무대 공간의 공간감, 협소함, 표현의 제약 등을 따져 볼 때 그것은 당연한 이유일지도 모른다. 연극이라는 것은 최종적으로 배우와 관객과 함께 호흡할 때 완성되는 것으로 배우의 연기에 따라 영상도 실시간으로 반응할 수 있어야한다. 이러기 위해서는 영상뿐만 아니라 배우와 인터렉션할 수 있는 영상의 제어 또한 상당부분 생각하지 않을 수 없다. 그리고 무대의 뜨거운 조명과 그 아래의 영상은 같은 빛으로 만들어진 작품이기 때문에 빛이라는 환경적 요인에서 벋어나지 못한다. 그 밖의 스크린의 존재와 무대의 조형물과의 조화 등도 생각해야 한다. 하지만, 연극의 성공은 관객의 몰입정도에 따라 결정된다. 몰입요소는 음악, 배우, 무대 등의 기존 연극요소가 있으며 여기에 영상 활용은 관객을 더욱 연극으로 몰입시킬 수 있는 또 다른 중요 표현방법이 된다. 그 영상의 활용방안과 문제점은 현재 여러 기술과 방법으로 해결되어지고 있으며, 연극에서 사용되는 영상은 더욱 발전 가능성과 활용 가치를 가지고 있다. 본 논문 이러한 대중문화인 연극에서 공간에서의 영상 미디어 활용의 중요성과 관객의 몰입에 관한 발전 가능성에 대한 연구이다.

• Journal of Korea Multimedia Society
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• v.13 no.2
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• pp.341-347
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• 2010

The off-screen space openness of the movies converted a unilateral communication, which films have made audiences understand with, into an interactive communication. When the spectators see a movie, the off-screen space will be able to take out their positivity and induce their deep thinking. They won't accept information of the screen by manual operation but will participate in the narrative stories of the cinemas, thinking about the reality. In the paper, it shows that the motion pictures, which Jean Renoir and Michelangelo Antonioni produced, consist of the expressive forms of the off-screen space as well as a human has the ability sense, feeling, perception and memory associated with interacting between the off-screen space and audiences.

• Korean Association of Arts Management
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• no.57
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• pp.85-126
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• 2021

This study aims to examine the interaction between jazz musicians playing in domestic jazz clubs and audiences visiting jazz clubs in depth. This study conducted an in-depth interview, a qualitative research methodology, to find out the subjective views of jazz club musicians and audiences about jazz club performances, and analyzed the contents and presented the results. The results of this study are as follows: First, jazz musicians perceived jazz clubs as the center point of their musician careers, and from the perspective of the audience, jazz clubs were a place where jazz lovers gathered voluntarily, and where they could enjoy musical communication in a comfortable atmosphere. Second, jazz club performances gave jazz musicians the autonomy to play and considered them suitable for creating optimized sounds, and the audience recognized that jazz musicians could experience performances vividly on stage close to the audience. Third, the way jazz musicians interacted with the audience was active for musical communication with the audience, and the audience preferred the way that interaction could contribute to their performance, and the audience recognized the interaction through musical communication with the musician and the musician's consideration for the audience. Fourth, jazz musicians played a major role in realizing a performance in which interaction with the audience was complete, and audiences perceived interaction as a joy of improvisation, a bond with jazz musicians, and a special experience. This study confirmed the jazz club's status as a cultural space for the public's jazz enjoyment as well as a performance base that ultimately promotes the development and spread of jazz gods in Korea, and it is meaningful that it can serve as a guideline for jazz performance planning and jazz club operation from an art management perspective.

• Proceedings of the Korean Society of Computer Information Conference
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• 2023.07a
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• pp.183-184
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• 2023

스토리를 제대로 전달하려는 관점에서 제작자는 관객들이 무엇을 보게 할 것인가에 대한 고민이 필요하다. 즉, 관객의 시선을 시종일관 끌고 다녀야 한다. 그러한 관점과 더불어 관객이 일상에서 익숙한 공간감을 스크린 내에서도 확보해 줄 필요가 있다. 그러기 위해서는 영상의 깊이를 충분히 고려해야 하는데 이는 관객의 시선을 유도하는 반면에 현실 공간감을 확보하는 것이다. 스크린 내의 물체들을 자연 그대로의 원근감을 갖도록 촬영 환경을 구성하는 것도 필요하지만 스토리를 전개하는 피사체를 배경과 분리시킴으로써 자연스럽게 초점과 영점을 맞출 수 있도록 장면을 구현하는 것이다. 이를 위해서 제작(production) 단계에서는 촬영기법으로, 후반작업(post-production) 단계에서는 아웃 포커싱 등의 효과를 적용하는 방법 등이 고려될 수 있다. 본 논문에서는 영상의 깊이를 확보해야만 하는 이유와 이의 방법 등을 고찰해 본다.

• Archives of design research
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• v.19 no.4 s.66
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• pp.205-208
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• 2006

This work is a interactive digital art work which used the multiplex of jitter. It is an work which used a cross concept of two images. This work shows two kinds of images. One is on the wall through the gap of fluorescent lamp screen, and the other is on the fluorescent lamp screen. Two images are intercepted and comes out to the length as the multiplex of the jitter. The appearance of the spectator be recognized on the fluorescent lamp screen or on the wall, by two branch image which comes out intersecting of a length with multiplex function of the jitter. Two branch features of the image which it produces and the spectator which is input at real-time is equally divided, or in impression of juxtaposition goes in the spectator. It expresses the duplicity of the human being, with physical existence space divides the time space which we feel and there is a governing grammar which is different with each other and to express the thing it becomes. It used the image of the screen which it produces with the fluorescent lamp and cross concept.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.113-125
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• 2021

This research has the purpose to approach 'Audience participation theatre' through applying the concept of 'Hybrid' which newly come to the fore after 21st in a theatre space. In fact, 'Hybrid' has been suppling crucial power to create and pass a culture down for a long time, and it could not different to a theatre space. The hybridity in previous traditional theatre which is central 'text' and 'architectural theater' is limited movement only on the stage, such as 'an actor between presence and absence', 'a theatrical time between real and fiction' and 'an objet between An Sich(thing itself) and Fur Sich(thing with inner meaning). However after 20st's 'Avant-Garde' with 'decomposition sprit', the hybridity become broader from only on the stage to entire theatre space including auditorium caused by collapse the boundary between auditorium and stage. In other words, 'auditorium' and 'audience' are considered as 'a theatrical element' coequal with other elements, and it can create various special results through they are mixed equally. Therefore, 'Audience participation theatre' could regarded a kind of hybrid phenomenon between 'auditorium and audience' and 'actor and stage' which are most disparate relation, and it is also approached 'hybridized audience', 'hybridized space' and 'hybridized text' as a new identity.

• Cartoon and Animation Studies
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• s.9
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• pp.94-111
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• 2005

Sight is one of the Important physical function of understand and express everyday life or artistic worts. 80% of the whole cognitive information on things and spaces comes from sight among man's five sense. This proves that the function of sight has much influence upon senses and perceptions, and such influence evokes a varier of emotional response. Emotion is an important element in framing an animation work, and need various equipment to evoke audience's impressions. Such elements as event, circumstance, time, and space are equipments for the emotional experience of audience.

• Archives of design research
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• v.16 no.4
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• pp.323-334
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• 2003

This study examines the multi-functionality of the cultural facilities and explores the architectural characteristics of cultural facilities in city environment. For this purpose, 1 examine the major cultural facilities in USA and Singapore. Recently, the inter-cultural communication methods have been diversified and the cultural facilities need to be designed to effectively accommodate the public's interests in these activities. It is also necessary to reexamine cultural facilities' functions in terms of how the multi-functionality facilities reflect the surrounding environment. This study also sheds a new light on the meaning of the relationships between cultural activity, and the cultural facility design. For this, I primarily look at the various design categories of cultural buildings and their main functions. Finally, I demonstrate how both cultural activity and cultural facility design elements are embodied in the city environment.