• The Journal of Art Theory & Practice
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• no.5
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• pp.83-107
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• 2007

The continuous struggle to establish virtual reality on the stage during the history of Western Theater has been centered upon the development of scenographic setting and devices. It began with the Classical Greek drama where the place of performance became separated from the place of the audience. These two places were united as the orchestra - the place of the Dionysiac festival in the earliest stage of the Greek theater. And the skene, once a storage building outside the theatrical area, became an essential factor of the scenic space to provide illusion of the other world where the actors dwell. As a natural consequence it followed the structural change of Roman theater where the stage became a high and wide platform and the skene converted into the permanent stone scaenae frons. Such a tradition of the Classical theater was revived in Italian Renaissance and Baroque theater, which succeeded Vitruvius' concept of scaenographia as well as the vestiges of Imperial Roman theater. The cases of Serlio, Palladio, and Andrea Pozzo reveal the way how Western theater conjured the fictional space by traditional representational scenery, including architectural background setting and painted devices. It resulted in the physical and emotional division of actors' space and audience's space. The rejection of representational scenery upon the stage by avant garde artists like Edward Gordon Craig in the early years of the twentieth century should be interpreted as an attempt to recover an emotional attachment of actors and the audience, which was the case of Greek antiquity. This new scenogrpahic endeavor in modern theater is to challenge the main purpose of traditional scaenae frons to establish the boundary of the illusional 'scene' of performance where the audience should remain as passive spectators, and instead, to try to unite the action of actors and the audience upon the stage as a 'place'.

• Journal of Information Technology Applications and Management
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• v.30 no.4
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• pp.77-86
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• 2023

This study conducted sentiment analysis on Hong Kong cinema from two distinct eras, pre-2000 and post-2000, examining audience preferences by comparing keywords from movie reviews. Before 2000, positive keywords like 'actors,' 'performance,' and 'atmosphere' revealed the importance of actors' popularity and their performances, while negative keywords such as 'forced' and 'violence' pointed out narrative issues. In contrast, post-2000 cinema emphasized keywords like 'scale,' 'drama,' and 'Yang Yang,' highlighting production scale and engaging narratives as key factors. Negative keywords included 'story,' 'cheesy,' 'acting,' and 'budget,' indicating challenges in storytelling and content quality. Word2Vec analysis further highlighted differences in acting quality and emotional engagement. Pre-2000 cinema focused on 'elegance' and 'excellence' in acting, while post-2000 cinema leaned towards 'tediousness' and 'awkwardness.' In summary, this research underscores the importance of actors, storytelling, and audience empathy in Hong Kong cinema's success. The industry has evolved, with a shift from actors to production quality. These findings have implications for the broader Chinese film industry, emphasizing the need for engaging narratives and quality acting to thrive in evolving cinematic landscapes.

• The Journal of the Korea Contents Association
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• v.9 no.6
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• pp.62-71
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• 2009

This paper is a study on the elected korean leading actors & directors who have stable mobility power for audience and social networking. We elected 153 most reliable Korea actors and directors of stardom" (50 directors, 103 actors); they have to put on the name in the 20 high ranks, and more than twice from the total amount of Korean audience about showing 700 movies by 1998-2007. And then we analyze out 'who might be centre in social networking and social networking between actor and director," through 'Centrality Analysis' using the "UCINET" social networking analysis program Finally, we know 'Kim sang-jin director' is 'key men' and 'star' who reduced uncertainty definitely: For a long time, he combines most stable audience power with broad network successfully.

• The Journal of the Korea Contents Association
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• v.13 no.3
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• pp.54-64
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• 2013

This study is on Hollywood's latest romantic comedy movie , attempted to identify whether nationality or gender difference of the movie audience is affecting on their acceptance to the genre characteristics of Hollywood's romantic comedy. Most of Hollywood's romantic comedy movies are centered on attraction of female and male actors and its' formulated plot (boy-meets-girl, boy-loses-girl, boy-gets-girl structure). Although the movie is following the formulated romantic comedy plot, it shows a variation from the typical romantic comedy genre. In this thesis, based on audience research data, statistics and interrelationship analysis on audience value orientation, we elucidate how Korean and American, Female and Male movie audience have different preference to actors and characters in the movie and representation of archetypal Hollywood romantic comedy happy ending such as propose and wedding scenes.

• Fashion & Textile Research Journal
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• v.10 no.2
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• pp.138-146
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• 2008

Opera costumes are a tangible medium to directly affect how opera singers performed. Therefore, stage costumes have been designed in various ways to reflect intentions of directors. This study examines modernization of opera costumes. For this study, the author worked as one of costume design staff for "Faust" which was played in Sung-Nam Art Center from November 24, 2005 to November 27, 2005 in commemoration of the opening of the center. The following outcomes of the supporting actors are drawn from this study. Martha wore a grey jacket and a long skirt with slash. Grey suit symbolized chastity but tight long skirt with slash means sexy. Valentin wore military and combat uniforms to express that he was a soldier. The military uniform represented the situation before the war and the combat uniform symbolized the situation after the war. Rather short trousers, a white tweed jacket, purple flower ornament, a light green vest, and a beret were used to express Wagner, who looked ridiculous and always tried to flirt. Overalls, a blue jumper, and a scarlet baseball cap were used to make Siebel look naive and homely. Modern opera costumes now help reduce the time and space between stage and audience, improve economic efficiency and meet the audience's needs for various style.

• The Journal of Information Systems
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• v.28 no.4
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• pp.223-250
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• 2019

Purpose As the 4th Industrial Revolution proceeded, attempts to direct and utilize information technology such as robots and drones in plays have been active. Information technology, such as AI or media art, which is applied in the production of theater productions, shapes the possibility of expressing the difficulty of actors, the effectiveness of dramatic effects, and the illusion. Despite the inconsistent effects of information technology on theatrical studies, little has been done despite the fact that the research on what factors affect the audience's satisfaction through the play. Hence, The purpose of this study is to demonstrate the characteristics of information technology and theater, especially audience's revisit intention. Design/methodology/approach The research model combining the theory of task-technology fit and the experience-economic model is presented. Findings The results of the empirical analysis suggest that the fit of information technology and theatrical task enriches the audience's experience and has a beneficial effect on the dissemination and export of contents management of art management in terms of revisit as a consumer and production of theatrical performing arts. This leads to the conclusion that task-technical fit and experiential economy could be applied to the field of performing arts in theater. It may also give useful implications to related producers such as producers, directors, and actors.

• The Journal of the Korea Contents Association
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• v.17 no.1
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• pp.750-758
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• 2017

Korean film actors and staff participated in Incheon(Terence Young, 1981) Hollywood filmmaking workforces had taken in South Korea. According to the dictation of the elders who participated in the making of the film Incheon, through the movie they were able to experience Hollywood film production system and said it had an impact on Korea filmmaking system. It is the reason that this study tracks the historical traces of the almost forgotten film. This article analyzed an expert assessment and recognition of the audience about the film Incheon produced by the Hollywood production system. Expert review was utilized in such press articles and tomes about the actors and staff who participated in the film. Also, the audience rating was analyzed in terms of the recognition at the theater or watching cable TV, Internet etc. Evaluation of expert in Incheon was monotonous but negatively red, I could confirm that the viewers recognized in various ways, rather than evaluated the film.

• The Journal of the Korea Contents Association
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• v.15 no.10
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• pp.18-25
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• 2015

After the Korean Wave with the industrialization of acting arts, scientific actors management has been demanded for the purpose of investment stabilization in related areas. This study was undertaken to develop a new convergence actors evaluation model applying inter-disciplinary research. The assessment factors were selected through literature reviews and the consensus of experts has been derived through Delphi Method. In conclusion, the evaluation criteria for the actors were drawn by 10 different factors. They are composed of qualitative factors such as the ability of acting and communication, degree of understanding of works and production system, actor philosophy and stability of the actors' self-management, physical condition and image, passion and enthusiasm for acting and works, and performance factors such as the stardom, fandom, philmography, audience share and ticket power, and network size and quality.

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.161-180
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• 2021

The purpose of this study is to define Juan Mayorga's play Hamelin as a Post-Epic Theatre and to study the practical directing technique for Hamelin as a Post-Epic Theatre. Post-Epic Theatre, which appeared after the Post-drama, has the purpose of presenting social issues, communicating interactively between the actors and the audience, and making the audience think about the issues presented by the techniques of immersion and alienation. To this end, after examining the theoretical background of the Post-Epic Theatre, the characteristics of the Post-Epic Theatre of Hamelin were identified and based on these features, '1. Building a visual image based on a Cubistic multifocal concept' and '2. The concept of directing was derived from reinforcing Meta-drama through role-playing'. Next, the actual directing technique was discussed, focusing on the chain action of immersion and alienation that occurs in the form of communication between actors and audiences. '1. Presenting the characteristics of the work through Post-Epic Theatre scenography', '2. Co-existence of actors and characters', '3. Building and utilizing body-centered gestus' are them. As a result, demanding an active attitude from the audience, various experiences such as critical thinking of the audience, strengthening the characteristics of post-epic dramas, and active meaning creation were made possible.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.169-186
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• 2020

This study selected 127 powerful Korean film producers, directors, and actors whose stable audience drawing power has been proven over the past seven years from 2013 to 2019, and viewed their network through social network analysis(SNA) to explain their power structure. It also explained the changes compared to the results of previous studies conducted on box office hits from 1998 to 2012. The producers who showed the highest audience drawing power over the past seven years were KANG Hae-jung, JANG Won-seok, LEE Eugene, HAN Jae-duk. BONG Joon-ho, KIM Yong-hwa, and RYOO Seung-wan as directors and SONG Kang-ho, HA Jung-woo, and HWANG Jung-min as actors were confirmed to exhibit the most stable audience drawing power. Meanwhile, the network formed by the 127 leading producers, filmmakers, and actors was analyzed based on closeness/ degree/eigenvector/betwenness centrality, and the result discovered a strong network involving JANG Won-seok, HAN Jae-duk, CHO Jin-woong, Don LEE, and HWANG Jung-min. This study is meaningful in that it included producers, the position which has never been discussed in previous local studies to analyze the network influencing star casting, and selected accurate box office hits by checking whether the concerned films actually reached break-even point rather than simply relying on the number of audiences or total revenue they garnered. Nonetheless, it left a hole to be filled in that it did not include the role of the management companies in the network. Therefore, a relevant follow-up discussion would be needed.