• 건강소식
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• v.37 no.5
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• pp.16-17
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• 2013

온 열정을 품고, 평생 '한우물'을 판 이에게는 감히 범접할 수 없는 '아우라'가 있다. 이제 40대지만 세계 정상의 발레리나, 한국을 넘어 세계를 대표하는 발레리나 하면, 딱 떠오르는 사람이 '강수진'이다. 전 세계의 발레 무대에서 최고의 극찬과 갈채를 받아온 그녀 마냥 빛나고 화려한 삶을 사는 것처럼 보이지만, 그 이면에는 한 편의 드라마가 있다.

• Proceedings of the Korea Contents Association Conference
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• 2012.05a
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• pp.223-224
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• 2012

본 연구에서는 조선 시대 흉배(胸背)의 학(鶴)무늬를 응용하여, 비보이 의상을 제작했다. '비보이를 사랑한 발레리나'의 비보이가 표현하는 순수함과 사랑의 진정성, 그리고 무대에서의 비무(飛舞)의 의미를 함축하는 '학 문양'을 활용했고 한복의 기능성을 부각시켜 무대에서 착용하기 용이하도록 제작했다.

• Journal of the Korean Society of Costume
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• v.54 no.6
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• pp.41-52
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• 2004

The objective of this study is to contemplate both the formation and the aesthetic characteristics of the ballerina look represented in modern fashion by analyzing a ballet costume. The results of this study could be summarized as the following: the ballerina look is formed by ballet costume itself with being stick to or exposing human body line, or by casual dress mixed with a ballet costume; the materials consist of both the major materials for a ballet costume such as silk, chiffon, tulle, lace, or organza, and the usual materials for casual dress: a variety of color such as transparent, pastel etc. is also used with typically used colors like white and black: decoration is basically composed of ruffle, drape, gather and the distinctive accessory like toe shoes, ribbon tape, ankle warmer is used to show a feature of a ballet costume These formative characteristics of the ballerina look presented in modern fashion implies illusory, pure, and hybridity. traits. First, illusion of the ballerina look not only implicitly expresses a womans wish to experience a ballerina's fantastic world, but also recreates woman herself into a ballerina on a stage. Second, purity of the ballerina look makes design look feminine and smooth, which is expressed with girlish taste through materials and colors. Third, hybridity of the ballerina look suggests a standard of a new trend, which is active style, by adding comfortableness and flexibleness to romantic femininity.

• TTA Journal
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• s.144
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• pp.20-21
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• 2012

발레에 대해 문외한인 사람들조차 그 선율은 들어봤을 정도로 <백조의 호수>는 유명한 작품이다. 차이콥스키의 서정적인 바이올린 선율은 매우 아름다원 신화의 'T.O.P'와 같은 대중음악에서도 샘플링 할 정도이다. 하지만 단지 음악만 아름다웠다면 이 음악을 듣고 사람들이 하얀색 튀튀(tutu)를 입은 발레리나의 모습을 떠올리진 않을 것이다. <백조의 호수>는 음악과 인체로 표현할 수 있는 아름다움의 극치를 보여주는 발레 작품이기 때문에 사람들의 뇌리에 깊이 각인된 것이다. 오늘날 클래식 발레가 환상적인 예술로 거듭날 수 있게 된 데에는 수많은 예술가의 노력과 함께 과학의 뒷받침이 있었기에 가능한 것이다. 인간의 한계를 초월하기 위해 스포츠 과학의 힘이 필요하듯 인체 예술의 극한을 보여주기 위해 발레에도 과학이 필요한 것이다.

• The Journal of the Korea Contents Association
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• v.10 no.12
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• pp.164-172
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• 2010

The purpose of this paper is to clarify the naming creation process of cultural contents based on the violation of selectional restrictions. This is to insist that the violation of selectional restrictions should be significantly considered as a mode of story planning and title naming in the cultural contents such as 'King and the Clown' and 'Ballerina Who Loves B-Boy'. This approach of selectional restrictions is based on the insistence of Chomsky's 'Aspects of the Theory of Syntax' in 1965. His idea had proposed that violation of linguistic rules affects the acceptability in the selectional properties of words and sentences. This focuses on the naming creation of cultural contents by widening his notion between selectional restrictions and the violation of selectional restrictions.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.3
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• pp.105-119
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• 2010

The style of costumes which dancers put on for dancing on a stage reflects the times, culture, and traditionality of movements in dancing. Accordingly, everyday dresses are adopted as the stage costumes in some cases and stage costumes lead the trend in other cases. Furthermore, like stage costumes in other genres, dancing costumes put more emphasis on expressive features in the functions of clothing unlike everyday dresses. In particular, dancing costumes shall sufficiently and delicately express each movement using the costumes as well as rhythms and melodies of music for dance. Ballet which is the representative western dance was derived from the world "Ballare" meaning "dance" in Italian. As shown in the change of word, ballet started in Italy. In Italy taking initiatives for all artistic activities in Europe as leading Renaissance in the 15th century, ballet started as the court dance and favored by French. Then, ballet flourished in France and was developed to the Romantic ballet in the 19th century. During the Renaissance, the early stage of ballet development the dancers put on the dresses which were in fashion at that time on the stage. The dancing costumes added the decorative features suitable for the characteristics of main actors or actresses and contents of dances to the dresses in fashion at relevant times in 17th and 18th century. "Panier", the dancing costume in the 18th century, was sensationally popular among women. As described above, the study on the features of dancing costumes by times not only arranges the costumes in each times but also investigates emotions and artistic and aesthetic values of those who lived in the relevant times. Furthermore, it is the way to experience the height of fantasy and beauty.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.809-814
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• 2023

Currently, there is a lack of research that directly applies and integrates science and technology in the field of dance and translates it into creative work. In this study, the researcher applied motion capture to creative dance performance 'Youth' and described the process of incorporating motion capture into scenes for the performance. The research method involved utilizing practice-based research, which derives new knowledge and meaning from creative outcomes through the analysis of phenomena and experiences generated on-site. The creative ballet performance "<Youth>" consists of a total of 4 scenes, and the motion-captured video in these scenes serves as the highlight moments. It visually represents the image of a past ballerina while embodying the meaning of a scene that is both the 'past me' and the 'dream of the present.' The use of motion capture enhances the visual representation of the scenes and plays a role in increasing the audience's immersion. The dance field needs to become familiar with collaborating with scientific and technological advancements like motion capture to digitize intangible assets. It is essential to engage in experimental endeavors and continue training for such collaborations. Furthermore, through collaboration, the ongoing research should extend the scope of movement through digitized processes, performances, and performance records. This will continually confer value and meaning to the field of dance