• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.73-82
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• 2019

The satirical content of the absurd play, centered on Lee Keun-sam's play, represents the family image of a modern capitalist society where only duty is emphasized while the characters are lost in love with the family. They show humans becoming subordinate to economic logic as traditional relationships and family relationships change into material ones due to the rapid development of the economy. The narrator expresses the roles of the performer and the narrator together. It also presents the plot as a characteristic element of epic and absurd dramas, and directs actors as directors. It also foretells the events that will take place in the future, presents the inner consciousness of the characters in the play, and reduces and expands events and times. In terms of conflict, in order to fulfill the financial responsibility of their children, the professor translates them like a machine and the wife distributes the money they earn as they demand. The middle-aged professor and his wife are not willing to make a difference in the real world, so specific conflicts are not revealed. Therefore, no concrete conflict appears within this work. The plot of consisted of 22 epicentre compartments, consisting of a time frame from evening to the next morning. And no special events happen and show only one family's daily life. In addition, materials that show simple repetition of daily life such as newspapers, rice, birthdays, etc. are effectively showing the character of absurdity through repeated structure. The linguistic features of the absurd play focus on expressing anxiety, despair, fantasy and the sense of loss that the object's purpose has disappeared. The stage system avoids detailed portrayals of naturalist plays and creates a thoroughly simplified image that the theme of the play demands, which shows that the stage unit is also an important element that characterizes the absurdity of reflexes.

• 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.

• The Journal of the Korea Contents Association
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• v.9 no.1
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• pp.215-222
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• 2009

The distinguishing feature of 3D animation is a reproduction of a reality. It is able to make the images that would be impossible with the conventional creative methods, and create the great fantasy. The development of creative image put great emphasis on importance of subject matter. Chris Landreth produces the unique 3D animation that has creative subject matter with great techniques. His work, Bingo(1998) describes social problem of mass-media and human being's agony in expression of theatre of the absurd. It is possible to have common interests in a matter with today's artists. The purpose of this study is to investigate how to express the theatre of the absurd in Chris Landreth's animation. A phase of social life is not only revealed with 3D features and his own techniques but communication capacity of 3D animation is also shown.

• Cross-Cultural Studies
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• v.46
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• pp.281-296
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• 2017

Andrei Amalrik's plays are a unique phenomenon in the 70 years' history of Soviet drama. Half a century after the Soviet theater had intentionally forgotten its own achievements of avant-garde dramaturgy in the early 20th century, his bizarre plays suddenly emerged in the Soviet theater environment, completely separated from contemporary Western practices of the experimental theater. Surprisingly even now, Amalrik's plays have almost been forgotten not only in Russia but also by foreign Russian literary scholars. Amalrik's autobiographical essay is his only book published in Russia after the collapse of the Soviet regime. There is no collection of his works, and reevaluation of his work is not found even in Russia. However, Amalrik is a writer who should get a proper evaluation. The purpose behind studying his plays is to restore the tradition of Russian grotesque-absurd dramaturgy, which has been inherited from Gogol, Khlevnikov, Mayakovsky, and Oberiu. In this paper, we will analyze the mechanism of composition in Amalrik's plays.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.4
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• pp.242-249
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• 2019

This study examined the wounds and healing of the character as a woman in Samuel Beckett's play, Happy Days, through a microscopic approach by focusing on her inner I, and to study how she tries to heal her wounds. Winnie in Happy Days spends hard times not recognizing her internal wounds and pains. By facing her wounds and pains, however, she starts the process of self-healing, mainly through communicating and sharing her sorrows with her past inner child. Winnie's positive and optimistic character appears to change Willie's behaviors, which may be a positive sign that her wounds and pains will possibly be healed. In conclusion, Winnie has a chance to face her inner wounds and pains while interacting and communicating with her husband Willie, and she is slowly heading for healing her wounded inner I.

• The Journal of the Korea Contents Association
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• v.16 no.7
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• pp.633-639
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• 2016

Putting his 'Panic theatre' aesthetics into practice, Fernando Arrabal is a leader of the avant-garde theatre. Creating ${\ll}$Guernica${\gg}$, Arrabal's play, in a dance theatre format, this study tries to analyze the group pathos in fanatical conscious and poetic movement. Logic analysis is based upon the pathos value of the theatre of the Absurd that transcends the unrealistic and the illogic on the authority of dual element of the internal opposition and contradiction of human beings. In ${\ll}$Guernica${\gg}$, the dance of the Absurd found expression in the group pathos phenomenon of fanatical conscious, and was analysed as a new framework of communication structure.

• Fashion & Textile Research Journal
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• v.14 no.2
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• pp.193-202
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• 2012

With entering the 21st century, modern people's dark inside and panic are emerging as the talking point on the theater stage. Even in the field of stage costume, the necessity of a research is being demanded through analyzing on psychological anguish and structure of characters. Accordingly, this study aims to allow the stage costume design to be expressed a human being's Doppelg$\ddot{a}$nger Image, which was elicited through analyzing a work of the play titled Le Grand C$\acute{e}$r$\acute{e}$monial by a playwriter Fernando Arrabal, who draws the conflictory and contradictory duplicity, which positions in a human being's deep inside by having chaos as catalyst. A research subject is 'Le Grand C$\acute{e}$r$\acute{e}$monial,' which was staged as the winter performance in commemoration of the 50th anniversary for the foundation of Dept. of Theater, Chung-Ang Univ. in November 2009. Psychology of characters in a play, which varies dimensionally, could be delivered, as nonverbal element called costume, by applying costume design of Cavanoza, Syl, Nice to Doppelg$\ddot{a}$nger Image such as Innocence vs Cruelty, Purity vs Superficiality and Restraint vs Freedom, which were elicited through analyzing characters. Through this study, the costume, which was expressed by visualizing a human being's Doppelg$\ddot{a}$nger Image, could be known to function as important dramatic factor of allowing character's psychology to be understood through costume as well as functioning as visual and sensible language, which is important for communication with the audience. A research on costume design, which reflects a character's complex inside, is expected to be likely continued through in-depth analysis on a playwriter's intention and on the appearing characters at the current point of time when an active research is being performed on stage costume in the wake of this study.

• Iberoamérica
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• v.21 no.2
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• pp.53-81
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• 2019

Generally, the image of Colombia is constituted as a dangerous country in war against guerrillas and with greater cocaine production. The massacre of Bojayá, taken to the theater work Kilele by Felipe Vergara which forms the object of analysis of this paper, was an event that has most affected the sensitivity of Colombia in the first decade of the 21st century due to the absurdity of its occurrence and the magnitude. The work Kilele not only represents the social drama of Bojayá as a bitter and nightmare past, but breaks the veil of death and communicate with the souls that, according to their beliefs, still hang in limbo. The main goal of this act is to go to reintegration of fractured society, celebrating a funeral rite worthy of the deads that wander various spaces of limbo. This article analyzes the epic structure in Kilele, rituals related to the African spirituality, and the fragmentary structure of the work. Finally this paper intends to reveal how it helped to recover from the trauma of the massacre.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.73-108
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• 2019

This paper is an attempt to discuss the history and the current state of 'SF theaters.' SF theater is still an unfamiliar genre to the public, and may surprise some, given that the stage is perceived as an insufficient space for stretching the scientific imagination. Since 2010 works that bring the scientific imagination into the theater have frequently been performed, and a recognition of SF theaters began to be established. Producers came to be absorbed in human psychology, and our isolation amidst the progress in technology, as well as in the absurdities of the world, while giving up the ideal of realistic descriptions. This became the foundation for SF theaters in South Korea today. Starting from the research history and the conceptual change in SF theaters, this study examined the status of SF dramas going back to the colonial period for SF theaters. Through inquiring into the history of SF theaters, we were able to derive the following implications and problems. Firstly, as they are based on future society or technical improvement without consideration of scientific probability or rationality, the scientific imagination is too absent for the work to be named 'SF theater.' Secondly, while being highly evaluated as an attempt to integrate science and stage in an era that emphasizes convergence, when we delve into the creativity of a material it is noticeable that the view of the world is still regressive. Thirdly, there are many cases in which scripts lean on SF classics or Japanese original works. Nevertheless, if young creators' diverse attempts in a genre can breathe with the contemporary audience desiring a new material, the foundation of a Korean-style SF theater may be expanded to include more significant work.

• The Journal of the Korea Contents Association
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• v.14 no.11
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• pp.79-88
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• 2014

Vampilov, who is not well known as a playwright in domestic, is acknowledged comparable to Anton Chekhov in Russia. This paper was planed in order to promote a unsatisfied study until now in domestic for works by Vampilov and studied a part of composing play to put on the stage for , a drama written by Vampilov. This paper, originated from a viewpoint that actor have to complete the final text of the play for audiences to read depending on the drama and based on work features and characters of Vampilov, established an analysis scheme according to segments of unit actions for actions of Sarafanov, the character of the play, in order to achieve a purpose under suggested situation at the drama and focused on completing purposes per units individually. We have analyzed Sarafanov and his actions referring patterns and probabilities of the characters in the other works by Vampiov and regarded it as the important item together with logical basis of actions. Lyric and humanism emphasizing works by Vampilov, affected by Anton Chekhov and Nikolai Vasilevich Gogol, are acknowledged as realistic descriptions using contingency and a play within a play outstandingly and emphasized an importance of human relation. We have selected as a primary way to compose action text that audiences would read on the stage and used it as the method to design action of the characters in order to activate natural good of Sarafanov and general absurdities that human, does creative works, never give up purposes of ideal life.