• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.157-164
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• 2019

If a drama play is interested in recreating the play text on stage, the post-drama play aims at a drama that has been liberated from the play text. In this process, the boundaries created by drama theater are dismantled. Actors and audiences, fiction and reality, theater and non-theater, works and events, language and non-language are the names of typical boundaries. The demolition of these boundaries is an opportunity to restore the festival character of ancient Greek theater, which was forgotten by drama theater. This has led to the dismantling of language-centric and play-centricism, which has dominated the play since Aristotle, and has led to a new play. If language-centered, play-centricism has brought about the crisis of drama, the post-dramatic play dismisses them and finds ways to communicate with the audience as new cultural content. The method is found above all in the restoration of dramaturgy. This is because the post-drama plays are more dependent on theatricality than literature. The demilitarized nature of post-dramatic play with enhanced theatricality will be a stepping stone to popularization, and this shows the possibility of post-dramatic play as cultural contents.

• The Korean Publising Journal, Monthly
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• s.40
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• pp.23-23
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• 1989

• (The) Research of the performance art and culture
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• no.23
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• pp.5-36
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• 2011

The purposes of this treatise are to compare theories of theatre in 'Kwandaega' with theories of theatre in 'Poongjahwajun', to recognize differences of theories between the former and the latter, and to find out the comparative characteristics of theories of Korean theatre. There are four differences between the former and the latter. These are as follows; Firstly, in the aspect of contents, the former is consisted of discussions about nature of theatre, discussions about acting, discussions about staging, and the latter is consisted of discussions about nature of theatre, discussions about acting, discussions about staging, discussions about origin, and discussions about dramaturgy. Secondly, in the aspect of nature, the nature of theatre in the former is recognition and practice as 'homo performans', the nature of theatre in the latter is realization of 'flower[花]'. Thirdly, in the aspect of acting, discussions about acting of the former are consisted of 'Sachae' theory'(Inmulchirae, Sasulchirae, Dekm, Nerumsae), discussions about acting of the latter are consisted of method of training per ages, method of training per role playings, trainings in everyday life. Fourthly, in the aspect of staging, the focus of staging in the former is realization of an endless series of changes[千變萬化], the focus of staging in the latter is realization of 'flower[花]'. There are four characteritics in the theories of Kwangdaega. These are as follows; Firstly, the contents of kwangdaega are consisted of discussions about nature of theatre, discussions about acting, discussions about staging. This theory is theory centered on actor/actress. Secondly, the nature of thestre in Kwangdaega is recognition and practice as 'homo performans', supporting of self-generational values, supporting of folk, new interpretation about secularism. Thirdly, the discussions about acting are consist of 'Sachae Theory'. Fourthly, the discussions about staging are consisted of realizations of an endless series of changes[千變萬化]

• Journal of Korea Entertainment Industry Association
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• v.13 no.6
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• pp.79-86
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• 2019

Drama, as an artistic stage performance style of traditional life style, has built a bridge of communication between the two nationalities in China and Korea. However, the different performance procedures and cultural backgrounds of different countries make the theatrical arts of China and Korea present different stage manifestations. The dissemination and influence of the Chinese drama and in Korea are mainly studied in this paper. By using the methods of work analysis and text analysis, this paper further explores the evolution history of drama communication, the influence of Chinese drama on Korea, which embodies the cultural transmission, and explores the influence of communication and the acceptance degree of the audience. It has the significance and value of research, at the same time, it promotes the long-term development of national culture.

• The Korean Publising Journal, Monthly
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• s.153
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• pp.14-14
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• 1994

오류 하나는 탈춤이 전승되고 연행하는 현장을 보지 않고 채록된 보고서만 텍스트로 삼아서 탈춤의 미학을 밝히겠다는 것이다. 그것은 마치 연극은 보지 않고 희곡만 봐야 연극미학을 제대로 연구할 수 있다는 것이나 다름없다. 오류 둘은 현장론이 무엇인지도 모른 채 다만 현장답사가 곧 현장론이라는 인식의 착각이다.

• 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.

• Archives of design research
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• v.14 no.4
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• pp.199-207
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• 2001

The public performance of drama has essence to convert text to visual images as stage and to represent, inform such visual images. Visual image is formed through a space as stage. Stage is a dish to fill the texts and is the mother's womb of visual image. Namely, visual image of drama equals space image. The purpose of this study is a trial to grasp the structure and system represented through interpreting. Especially, the concerns of this study are not semiology of letter imported in image but spacial image text importing just contents of text and the process and contents grasping the structure and meaning of dramatic space. Finally, this study proposed 'the system of space embodiment'from the semiotic point of view as interpretation methodology of actual memorial, symbolic space.

• 한국프랑스학논집
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• v.105
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• pp.297-324
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• 2019

Cette étude a pour but d'analyser l'inconscient du texte de Samuel Beckett à l'approche psychanalytique autour de sa pièce anglaise Happy Days(1961) et de sa pièce française Oh les beaux jours(1963) traduite par Beckett lui-même. L'étude a pour base la citation de Rainier Grutman sur l'auto-traduction de Beckett que « son œuvre dans l'ensemble est, avec chaque part monolingue exigeant sa contrepartie en une autre langue ». Cette étude révèle le style de Beckett censé être influencé par la psychanalyse et en même temps des différences entre deux textes qui nous montreront des particularités de son auto-traduction. La scène de Happy Days est composée d'un long monologue de Winnie « enterrée jusqu'au-dessus de la taille ». Elle essaie d'enchaîner par les règles du discours à la manière de raconter un rêve. Winnie évoque deux fois un épisode de Mildred et un épisode de « Monsieur Piper… ou Cooker et la femme ». Ces deux épisodes montrent des images déformées de l'inconscient de Winnie. Le glissement de l'inconscient s'effectue aussi au niveau des signifiants. Par exemple, l'usage répétitif de l'adverbe « up » dans Happy Days et des verbes « tirer » et « lâcher » dans Oh les beaux jours montrent le désir de « flotter dans l'azur » de Winnie. Le texte révèlant l'inconscient d'une façon détournée est nettement différent dans Happy Days et Oh les beaux jours au niveau des indications scéniques, des mots, des styles des phrases, des citations des classiques. Alors que l'allusion des phrases anglaises est supprimée, Beckett rétablit cette suppression par une autre manière dans sa traduction. Par exemple à la place du mot anglais « damask » qui suggère l'influence de Till Damaskus de August Strindberg, il tente de montrer dans Oh les beaux jours le mouvement alternatif de « l'inconnu », héros de Till Damaskus : Beckett traduit la phrase anglaise « then nothing from that day forth only titbits from Reynolds' News » par la phrase française « finie fleurette, la parole est aux offres et demandes ». Sa traduction française montre bien « form is content, content is form ».

• The Journal of the Korea Contents Association
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• v.10 no.4
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• pp.186-197
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• 2010

The things that you cannot miss when reading Chekhov's plays are "pauses" and ellipses lining up in the middle of the lines. I think what meaning to amplify and how to express a great number of "pauses" and ellipses when one directs Chekhov's works may be a crucial element that makes his works more Chekhov-like. First, proper uses of "pauses" and ellipses may be helpful for determining the characteristics of the characters. So silence in Chekhov drama allows his plays considered relatively lacking actions to become totally different drama texts with musical dynamics, that is, functions as directive or acting material to be treated delicately.

• 중국학논총
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• no.27
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• pp.147-166
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• 2009

New year pictures prevailed from 1660s to 1860. Especially, the reign period of Emperor Qianlong(r. 1736-1795) was the period of prosperity. The period of 1660s when new year pictures were started to be popular was the reign period of Emperor Kangxi(r. 1662-1722) was just started and corresponded to Emperor Kangxi's promulgation of "Sacred Edict." Chinese operas such as Peking opera were very popular among common people in the period from 1660s to 1860 when new year pictures prevailed. Qing emperors as foreign ruler chose the way of ruling their people by means of cultural influence in stead of military power. However their culture effort was not efficient toward the majority of illiterate people. New year pictures offered every information about the world through visual icons to the illiterate people at that time who perceived the world by means of seeing. They met the world through visual information offered by new year pictures. New year pictures were the stronger visual medium to spread and educate "Sacred Edict" to illiterate subjects than any other guide books published by elite officers.