• Journal of Fashion Business
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• v.4 no.2
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• pp.127-140
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• 2000

The purpose of this study was to research and design stage costumes of Whangjinie focusing on inner image of Whangjinie, present stage costumes of new image. Four steps were taken in order to achieve this purpose. The first step was to investigate the old documents and prior research about literature world of Whangjinie. The second step was to analyze stage costumes of Whangjinie which were worn in opera, movie. The third step was to design and make the stage costumes according to new images Whangjinie which were extracted from above two research results. The new images of Whangjinie are as follows 1. Whangjinie as a kisaeng(professional entertainer) She thirsted for new, materialistic love though she failed in love everytime. 2. Whangjinie as a woman. She had a hard time by feeling an irresistible yearning for lover 3. Whangjinie as a poet. She expressed as a poetry her vanity and loneliness of life. Using above three images, this study designed four new stage costumes of Whangjinie and two designs of them were made really. But this study didn't present historic costume of her age but expressed modern mood in color and form.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.1
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• pp.793-800
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• 2015

This study is to analyze correlation between Daniel Libeskind's architecture works and the effects as a series of music works be learning in youth and opera "Aron and Mose". The results showed that First, Libeskind created convergence of invisible line by borrowing the composition of freely flowed scales in score from his architecture. Second, he composed geometrical shapes of contrapuntal reiteration based on double tune in music structure, in other words forms of polyphonic proportion. and he expressed the geometrically, freely line rhythm by planning composition of multidimensional spaces, "Hybrid", planning the contrast of material, form by results of Intertextually combination between Architecture and Music. Third, he tried to express the pain, fear, anxiety, etc. of the past spatially, and constructed "the spaces of absence" on his works through inspiration from Arnold Sch$\ddot{o}$nberg's works.

• The Journal of the Korea Contents Association
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• v.16 no.1
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• pp.241-255
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• 2016

This study aims at examining the making and distribution course of performing arts and its converged form with technology and industry in terms of the Contents Promotion Act. Since the 2000s, the inter-area contents making and sharing methods have been changing the making and distribution structure of performing arts. The recent production of performing arts contents live videos extends the areas of arts creation and communication beyond the time and spatial boundaries of performing arts and changes the existing systems. The performing arts which started with nowness and spatio-temporal restriction on the premise is now creating a new platform over the spatio-temporal boundary through the live video. Performing arts, in convergence with the areas of technology and industries, expands universal approaches and shows the public value of cultural fairness at public performing arts centers. In this context, this study aims at seeking the possible extension of performing arts contents by examining how the so-called high-class performing arts such as opera, theatre and classical music combines with the visual industry.

• Journal of Digital Contents Society
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• v.11 no.4
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• pp.607-614
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• 2010

History centered knowledge based story-telling project planning tool supports the process of story creation in narrative genre about history of families or individuals. Narrative fields not only include drama, mythology, legend, history but also non-verbal epics such as movie, play, ballet and opera. But as verbal epic, this research paper focuses on the family history and individual history of each household. This story-telling planning tool redevelops each genre of story-telling about family history through sampleDB and informationDB, and it is widely applicable in concreting high quality stories in both its content and value. Reduces the time of planning story-telling, and impose minimum expenses in human resources. Content about family history is one of the most the fundamental and renowned contents in Story-telling but planning tool that is easily applicable in creating such content does not exist in statue quo. In this current system lacking creative infra, this research paper seeks to provide a planning tool that public can easily utilize, and by systemizing the tool. it aims to create a creative contents tool model applicable in variety of genres.

• Korean Institute of Interior Design Journal
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• v.18 no.1
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• pp.3-10
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• 2009

The relationship between light and space is fundamental In an opera stage design. In contemporary stage design, light, color and space themselves became one of tile most important elements to express and symbolize the content of the opera. This was very different compared to the primitive and medieval opera stage design in the past. The designer tried to represent the same periodical background of the opera with exact replica of the buildings as well as costumes. In comtemporary performance art, light became one the most important aspects in design. Max Keller is one of the living pioneers in stage lighting design. This thesis that is based on his lighting experiments and projects attempts to examine how contemporary stage design and light are applied and what kind of characteristics they have. One of the Wagner's opera, "Tristan und Isolde" was selected to be further analyzed. Three different "Tristan und Isolde" opera stage designs were carefully studied in terms of how three designs are differently constructed for specific same contents of the opera. This sort of comparison study is crucial when there is a strict parameter that is the opera itself. It was found that three opera stages have very different stage designs and unique ways of expressing the opera flow and contents. However, in some parts, very similar lightings were used. This sort of multi-disciplinary study can be helpful to re-think the interior environment by applying light as a fundamental medium.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.509-547
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• 2012

The Seoul Arts Center is an representing Korean arts-complex consisting of the Opera House, the Concert Hall and the Museums. Since its opening in 1993, it has been established as a mecca of arts and the culture in Korea. Many local public theatres in Korea are benchmarking its operating system and policy. Unlike most European or American theatres, the Seoul Arts Center has no resident art companies. It is not a 'producing theatre' whose programming is mainly based on house productions with resident companies, but a 'presenting theatre' that is to be managed with rental and invitation programs without resident companies. The majority of the Korean public theatres are also presenting theatres. This study aims to research and analyze how the Seoul Arts Center has developed the programming of the Opera House for last 19 years and which challenges and issues it has been dealing with, and finally to propose what will be recommendable remedies for its successful future. The analysis is divided into four development stages: preparation period from 1981 to 1992, establishment period from 1993 to 1999, growth period from 2000 to 2006, and lastly crisis period from 2007 to 2011. Facing the 20th anniversary next year(2013), the Opera House of the Seoul Arts Center is going through recent critical situations: higher competitions among increased theatres, trends of commercial musical productions, and rapid declines in its house programs due to the low budget and unclear programming policy. I propose as a discussion to start a repositioning strategy as a Korea's representing arts-complex, utilizing all sources from inside and outside and having the policy direction.

• The Journal of the Korea Contents Association
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• v.21 no.2
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• pp.718-726
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• 2021

A musical that combines singing, dancing, and acting is a popular musical drama created by the development of opera. These musicals are the cultural and industrial sectors that are commercially compatible with artistry and popularity. Musicals remind you of exciting and colorful live performances. This musical industry has been loved by the public as it was created not only on stage but also as a musical film. The film industry has been striving to express the musical's unique originality through film screens. In terms of acting, acting in musical films should be implemented to suit musical films. In order to do so, the characteristics of movie acting and musical acting will be understood at the same time and true musical film acting can be implemented on the screen when each genre is fused. In order to act as a musical film, it is necessary to understand the functional characteristics of each genre and apply the necessary functions on the spot.

• Journal of Fashion Business
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• v.18 no.2
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• pp.1-13
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• 2014

This study examines research trends in the dissertations and journal articles on stage costume so as to provide basic information on directions for future studies. The data was collected from the theses of domestic journals of the Korean Studies Information (KSI) which were published until December, 2012 and retrieved by a keyword related to the "design of stage costume", "costume for performing art", and etc. Theses and articles for the analyses were a total of 200 published. Reviewing the theses by dividing the times into 8 Chronicles of 5 years in each term. The findings of the study are as follows: According to the chronological analysis, there has been a steady increase in the rates of the musical, ballet, dance, and circus costume and cutting edged technology such as LED has been utilized in the performing art, currently. The real production and making up of the costumes have been increasing as well by replacing of illustration and rendering of the costumes. In the recent costume of the performing arts show the tends of the visual effects and up-sizing, comprehensiveness and fusion. From the analysis of the background of the work, those were confirmed that the most common historical period was modern period, and places were France, England, and Egypt. In regard to research themes and methods, many of research papers utilized content analysis method, character analysis method as research methods. The most popular presentation of the costume designs was "rendering", "costumes schedule" and "illustration". However, development and explanation of the patterns was insufficient and constructions methods and real works(costumes) were usually omitted in the articles.

• Archives of design research
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• v.12 no.4
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• pp.305-315
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• 1999

Most people react emotionally and are impressed for natural seen such as act, paint, sculpture, music, science, discovery, act include movie, opera. For empathy, people should make efforts feeling about sense from watching by themselves. Usually we are looking for meaning from art and intend to relate wth the content of music, drama, paint, and movie. The trend of statical order in modern design is strong in this time. However, we need to research the motive order for progressive design. And also, designer who want to give motive order to something must need to study motive order in design. This thesis explains the way of effective approach so that designer can apply the thinking such like bring in emotion. Also this research introduces the way of thinking to do progressive imagination and try to research through case study.

• 한국프랑스학논집
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• v.104
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• pp.25-77
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• 2018

L'objectif de ce travail est d'étudier la querelle et la réception de l'Andromaque de Pitra et Grétry, de comparer leur œuvre à la tragédie de Racine et de saisir la signification des modifications qu'ils y introduisent. Dans notre optique, il est essentiel de prendre en compte la réception d'Andromaque sur la scène lyrique du XVIIIe siècle. Andromaque est le plus populaire des sujets tragiques dans l'opéra seria de cette époque. Cette popularité exceptionnelle est liée à celle de la tragédie de Racine sur laquelle les livrets d'opéra ont été basés. Parmi ces livrets, celui de Salvi est le plus mis en musique au cours de ce siècle. L'expression des sentiments humains dans l'Andromaque de Racine correspond au sujet de la réforme de l'opéra. Dans le dénouement heureux de Salvi, alors qu'Andromaque devient amoureuse de Pyrrhus et accepte de se marier avec lui, Hermione accepte finalement Oreste. Après le grand succès de l'Iphigénie en Aulide de Du Roullet et Gluck, Devisme, nouveau directeur de l'Académie royale de musique fait appel à Grétry pour renouveler son répertoire. Les Comédiens-Français empêchent les représentations d'Andromaque en 1778, puisque Pitra, librettiste de Grétry emprunte de nombreux vers à la tragédie de Racine et les emploie dans la même situation. Pourtant, il fait lui-même souvent les vers pour les airs et les chœurs ainsi que pour les divertissements. Malgré son adaptation problématique, il donne une dignité tragique à son livret en imitant Racine. Le 6 juin 1780 lors de la première représentation, le succès de l'opéra de Pitra et Grétry est mitigé et le livret est critiqué. Le lendemain, Grétry et Pitra réagissent aux critiques en introduisant plusieurs changements dans le livret et le succès de leur opéra s'affermit petit à petit. En août, Grétry interrompt la représentation d'Andromaque pour pratiquer quelques changements. Si on compare le livret de la première représentation à la version remaniée en 1780, il y a plusieurs modifications importantes. Ils suppriment les vers raciniens inappropriés et la tirade où l'héroïne évoque la nuit éternelle du sac de Troie. Pour favoriser la rapidité de l'action, sont retranchés les danses et les chœurs de la fin du premier acte. L'évocation du matricide d'Oreste est supprimée en raison de la bienséance. Il est important de comparer la version modifiée en 1780 à l'Andromaque de Racine pour saisir la conception esthétique de Pitra et de Grétry sur l'opéra. Pour découper leur ouvrage en trois actes, ils remplacent les confidents comme Pylade et Cléone par des chœurs et intègrent Céphise aux femmes troyennes. Pour simplifier encore l'action, Pitra et Grétry ne conservent pas l'exposition racinienne et diminuent le nombre des scènes où Oreste et Hermione apparaissent. Tandis que ceux-ci perdent leurs épaisseurs psychologiques, le rôle d'Andromaque est plus mis en avant. Ils resserrent l'intrigue autour du personnage d'Andromaque tout en gardant ses scènes importantes du modèle racinien. Ils portent à la scène ce qui est en récits chez Racine comme la scène au tombeau d'Hector, la cérémonie nuptiale et l'assassinat de Pyrrhus. Mais Pyrrhus et Hermione réagissent comme si Andromaque acceptait de se marier avec lui avant sa décision prise au tombeau d'Hector. Il est intéressant de noter que le même défaut se trouve dans le livret de Salvi. Le compositeur compense quelques défauts de son librettiste par ses talents musicaux. La musique de Grétry sert le drame intelligemment sans le gêner et les divertissements sont intégrés à l'action en produisant un effet harmonieux. Avec le remaniement du troisième acte en 1781, Andromaque connaît un grand succès auprès de la critique. L'ouvrage de Pitra et Grétry est considéré réellement comme un véritable opéra par le public et ce nouveau dénouement s'écarte sensiblement de celui de Racine. Pour compenser cette défiguration, ils se rapprochent partiellement de Racine dans la première moitié du dernier acte: comme chez Racine, Andromaque croit voir l'ombre d'Hector et finit par régler son dilemme; l'entretien entre la mère d'Astyanax et Céphise est développé sans l'intervention du chœur des femmes troyennes. Dans la seconde moitié du troisième acte dont le cours de l'action est totalement différent de celui de Racine, Pyrrhus et ses soldats se battent avec Oreste et les Grecs qui enlèvent Astyanax. Pitra et Grétry préparent soigneusement le changement des sentiments d'Andromaque: elle prie les dieux de sauver son fils et le roi; Pyrrhus ordonne à ses soldats de défendre cet enfant. Quand il sauve l'enfant et le rend à Andromaque, elle dit à son fils «Ô mon fils, ton vainqueur est ton père». Elle témoigne de la reconnaissance envers Pyrrhus et le prend pour nouveau mari. Dans le dénouement du livret de Salvi elle éprouve de l'amour pour Pyrrhus et ce changement brusque de ses sentiments constitue une faiblesse. Pitra et Grétry souligne l'amour maternel d'Andromaque: la scène du couronnement d'Astyanax accentue l'image de la mère tendre qui veille sur son fils.