• Proceedings of the Korea Contents Association Conference
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• 2006.05a
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• pp.273-278
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• 2006

In the virtual space in which human imagination exists, a great deal of games and animation contents have been developed and shown. Games and animations are performing a role as an unrealistic representative, and creating abundant virtual culture with variety of human life. A representative, that is, a main character is being completed with external design, unique personality and ability, and action in the story. This study is expecting that a game character might develop into motion acting for emotional situation from the simple action. As giving a game character a role as a medium to express various circumstances and emotions, choosing motions from a pantomimist and applying them to 3D character, and expressed according to the motion acting. Motion acting is extended from the basic motion into the emotional phases such as joy, anger, sorrow and pleasure. The motion acting expressed from various viewpoints is suggested, as communicating clear message through emotional acting contrary to the symbolic language.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.89-100
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• 2021

Comedy has been popular since ancient Greece. In order to visualize comedy more effectively, the actor's acting acts as an important factor. Then active discussion is needed on how actors can actually shape their comedic performance. I would like to approach comedic acting methods, focusing on the character of Kim Seo-young in the play . This researcher played the character of Kim Mi-young, and the characteristics of comedic acting include exaggeration, repetition, fast tempo, changing tone, and exaggerated physical behavior. Comedic acting comes from a dissonance of reactions. This is because unexpected reactions to stimuli can cause audience laughter. Comedic acting is also important in exaggeration and repetition, which must be based on true acting. The fast tempo of the act and the changing tone of the words also affect comedic acting expressions, and the embodiments of 'slapstick' and 'group dance', which are characteristics of farce acting, play an important role in causing audience laughter. In order for these characteristic elements to show comic effects, the actor's true acting must be the basis. What is important in comedic acting is understanding the narrative flow and features of the text and expressing it accurately. Comedic effects can be sufficiently represented if an actor truly expresses his means and faithfully demonstrates what the text requires. It is hoped that such research will help explore various acting arts, the acting education field, and the theater creation process.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.108-116
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• 2013

Park Jung-hoon started his acting career in movie since undergraduate year at Chungang University, Drama and Cinema school, and till now he is a very active and nationally beloved actor in Korea. However, to this day there isn't any study about him, so this study might be the right time to take a look at his acting style again. This report will find and review his distinctive patterns in acting, and roughly assess the character expression from character, Dong-chul, in the movie, My Dear Desperado; which has been evaluated as the best movie to show the inner side of character. His acting pattern is segmented by 3 parts; Park Jung-hoon style comical acting, expression of macho side of masculinity, and subtle inner emotion expression acting. Then his acting technique is analyzed from character Dong-chul in the movie, My Dear Desperado, which he acted out change in character from low-class nonsense gangster to a good-hearted man flawlessly. In addition this report will try to find his acting technique that made impossible distance between the characters possible. This study hopes to start and continue other studies that discuss many movie actors' and actresses' different character expression method and their training technique, also wish many actors and actresses could find helpful in their acting training.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.117-130
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• 2020

The Golden Dragon is a work that reminds us of the tragic illusion of globalization through the story of Asian workers' lives in Berlin, a strange city. Also, the post-epic nature of the play requires the audience to see it in a new way, more different than before. In Korea, there are theoretical studies on the post-epic theatre, but there is little research on specific acting approaches based on practical production process. Therefore, I first analyze the post-epic characteristics of The Golden Dragon in order to present specific acting approaches. As a result, it would be confirmed that body-centered acting approaches were required in the post-epic theatre to play more different roles than in the realism play. Thus, Laban movement Analysis(LMA) of Rudolf von Laban is applied so that internal impulses could be naturally induced through the utilization of the body. Of the four categories of motion(BESS), Laban seeks to look at the body-centered acting approaches through the effort. Finally, it must be confirmed through the actual production process that Laban's theory of motion could be used as a body-centered acting approach to creating the role of post-epic theatre.

• The Journal of the Korea Contents Association
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• v.15 no.5
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• pp.108-118
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• 2015

One hundred years have passed since the Western modern play emerged in Korea. Meanwhile, the numerous actors have appeared and disappeared as well, but leaving the record of their great art of acting is still negligible. For stage performances recorded and restoration of works of art creative process is a very important basis for future generations inherit a world of art. The aim of this study will look back on the life and achievements of the greatest senior actor, Jang Min-ho(1924-2012) died in 2012 and see his acting career and world of art. He was born at the time actors were not valued as an expert yet. Recording a life of an actor itself becomes an opportunity for fundamental reflection for the essence of play and role of actor, and introspecting an actor's life on acting becomes an effect that the actor's unique acting style is delivered to younger generations. By recording the actor's life and life on art, I hope that the contemporaries are able to recognize the value and importance of artists leading the contemporary era with being increased interest.

• The Journal of the Korea Contents Association
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• v.17 no.1
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• pp.585-593
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• 2017

This study is about an observation, namely, the starting point of a role creation with playing a bridge role regarding the work of the role at the work with oneself in the actor training program of the stanislavsky school called the bible about the reenactment acting which is the most basic study of the performance, and in the circumstance of theatrical circles of Korea, which relatively have a lack of the research as mentioned earlier, it described the necessity, usefulness and types of the observation as well as methods of a stepwise observation. First of all, actors should capture observing targets suitable for a role in the play, and if the targets were captured, he needs to imitate and then learn it by using his own body In addition, it must go through the process of an extended application by an adjustment, an amplification, and the application depending on the circumstances of the role after understanding the principle of physical behavior. Also, in order to overcome the simple duplication of outward appearance, making it his own should be conducted through the process of learning it by body and identification by attempting empathy, and for become not the process of the observations which can be partially and fragmentarily finished but the whole acts handling the whole play, it requires the actors to continuously make efforts to create the role, designed to be appropriate for the role while comprehensively arranging each behavior of fragmented figures.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.133-144
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• 2020

This study is a new proposal for the methods of actor training and role creation in the contemporary theater and an approach to the practical utilization of the performer, regarding the actor's 'presence' as the essence of living arts, a peculiarity of theater. As the method for this, this study sorts out Vakhangov and Mikhail Chekhov's elements of acting techniques and at the same time, allows an easier approach to the theoretical concept based on the performance records found in the developmental process. The magic realism and the technique of acting discussed in priority in this study emphasize the importance of the exploration and realization of artistic inspiration in everyday life, the actor's imagination and image, and unconsciousness as a method for creating new actors and diversifying their roles. When their common views are summed up, the goals to achieve include a study of a creative method in which outer form and inner truth are combined and the implementation of a new system for creating the individual actor's originality. This study would classify the similarities and differences found through this, reveal the limit of practical efficacy and propose it as a universal method for creating the roles, asking for the actor's voluntary training and active attitudes.

• Journal of Korean Philosophical Society
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• v.123
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• pp.347-377
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• 2012

We have numerous terms representing mind. We can understand them largely as the relationship of 'Discernible Mind' and 'Indiscernible Mind.' Because, our understanding mind is formed by linguistic discernment. When any discernment arise from our mind, we recognize the mind shown by discernment[Discernible Mind]. At the same time, we can think orignal mind[Indiscernible Mind] outside that discernment. Buddhism, generally, has understood mind in the relation with everything. That is to say, they have understood it from the perspective of dependent co-arising. In the early Buddhism and the abhidharma Buddhism, approaches to mind were mainly made by the discerning method. They explained arising and vanishing of 'Discernible Mind' by the law of dependent arising. Co-arisen 'Discernible Mind' is impermanent and temporary. But they never be denied on 'Discernible Mind' as an vainness. In $Mah{\bar{a}}y{\bar{a}}na$ Buddhism, $N{\bar{a}}garjuna$ understood the essence of dependent arising as the ${\acute{s}}{\bar{u}}nyata$ (emptiness) and the law of dependent arising as simultaneous dependence, not gradual dependences. $N{\bar{a}}garjuna$ criticized on vainness of Discernible Mind through ${\acute{s}}{\bar{u}}nyata$, and made possible to directly perceive Indiscernible Mind, before Discernment. Undiscriminating Mind can not be explained for being stayed beyond the state linguistic discernment(false discrimination), however, had been approached from various other names to potential consciousness or original nature. While ${\acute{s}}{\bar{u}}nata$ thought focused on criticizing vainness of discernment, Hwaeum thought suggested aspect of Indiscernible mind from the aspect of $ekay{\bar{a}}na$ dependant co-arising that everything has been co-arisen, the truth of discrimination. Furthermore, it opened the path to affirm the both indiscernible mind and discernible mind by illuminating that everything is manifestation of original nature itself, i.e. nature-arising. Hwaeum thought focused on perfect understanding by explicating the relation both indiscernible mind and discernible mind from the view point of non-abiding, rather than clarifying 'Discernible Mind' and 'Indiscernible Mind', itself. That is to say, from the aspect of dependant co-arising, Hwaeum thought plays a role that enters the indiscernible world from discernible world, and also, another role, from the aspect of nature-arising that is manifesting discernible world from indiscernible world. These aspects are important for righteous understanding on mind, and also simultaneously, very effective for healing disease of obsession, a kind of metal disease.

• Fire Science and Engineering
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• v.33 no.4
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• pp.16-27
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• 2019

A burning test was conducted on the smoke and combustion gases generated from cypress wood treated with sodium silicate, 3-aminopropyltrimethoxysilane sol, 3-(2-aminoethylamino)propylmethyldimethoxysilane sol, and 3-(2-aminoethylamino) propyltrimethoxysilane sol. The silicone compound sol was applied to each of the cypress wood specimens three times with a brush. The smoke and combustion generation gas were analyzed using a cone calorimeter (ISO 5660-1) and the smoke was also evaluated by applying new smoke risk assessment method. The smoke performance index (SPI) of the cypress treated with silicone compound increased 1.66 to 8.42 times and the smoke growth index (SGI) was 11.8 to 88.2%, respectively. The smoke intensity (SI) is expected to be 1.0~50.5% lower than that of the base specimens, resulting in lower smoke and fire hazards. The third maximum carbon monoxide (CO_peak) concentration of the specimens treated with silicone compounds was 22.5~33.3% lower than that of the base specimens. On the other hand, it produced potentially fatal toxicity that was 1.48~1.72 times higher than the US Occupational Safety and Health Administration (OSHA) acceptance standard (PEL). Cypress wood itself produced a high carbon monoxide concentration, but the silicon compound played a role in reducing this level.

• Cartoon and Animation Studies
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• s.34
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• pp.45-79
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• 2014

The purpose of this study is to propose divergence from standardization of animation acting through working on investigating gestures comprising most principal exaggeration acting elements in animation acting. For this purpose, this study utilizes animation 12 principles and Laban's effort theory. This study respectively analyzes 2D and 3D animation gesture expressions that are standards for comedy silent film and derive commonness and difference from them. In the next, this study explores the possibility of how animation can utilize acting of comedy silent film. Charles Chaplin and Buster Keaton used to be important elements referring to early animation acting, but as the recent animation technology gets advanced, they are not treated significantly any more. However, as 3D animation turns out to be chief concerns and the roles that acting, dynamics and performance play become gradually important, the necessity is on the rise that Charles Chaplin and Buster Keaton's gesture performances should more prudently be reinterpreted.