• 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'.

• Korean Institute of Interior Design Journal
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• v.21 no.1
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• pp.195-202
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• 2012

This study aimed to analyze the types and characteristics of space forms according to performance types in the space of performing arts centers through the cases of modern performing arts centers. As for the space forms according to the performance forms, the performing arts centers devoted to dramas made a small space or turned into multi-purpose ones entering the modern days. Added to the proscenium, the main stage, was the back stage for the stage background. The area of the stage and auditorium grew similar with some kind of separation between the stage and audience. The concert halls have close relationships with the audience and their stage contacts the auditorium on many sections. The stage space is smaller than the auditorium and usually either the complex or entry type. In the opera theater, they commonly create a space for social gathering in addition to the main stage of proscenium, back stage, side stage and auditorium. They're also distinct from other performing centers for having an orchestra pit between the stage and audience. The stage is twice as big as the auditorium and the separate type. In today's performing arts centers, the sizes of the stage and auditorium can vary widely, and the performances of many different genres are put to multiple purposes.

• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.328-335
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• 2012

Due to development of digital technology, a concept of stage design management is being changed. In addition, stage management technique is changing a viewpoint of the audience watching a stage through the convergence of analogue and digital technology. Three-dimensional media such as LED and hologram and works combining with previous stage performances are rising, and the audience's requirements about spectacles on the stage are increasingly higher. Interaction between a stage, audiences and actors is a communication tool by a work story and its direction. In other words, stage design should newly focus on not only concluded work story but also comprehensive delivery of direction and the expression and extreme delivery. Therefore, this study aims to examine how to combine analogue and digital direction elements in the stage design. To this end, this study looks into everything the audience feels through performances and analogue and digital elements directed for performances and then analyzes and arranges them to present a possibility of various types of work performances. Stage structure, set, and lighting that are analogue direction elements are the basis of stage performance. Analogue direction elements mean a media vehicle that can differentiate except for basic direction of each work. This study aims to analyze new performance culture when analog and digital direction elements are combined through stage performance and a possibility of new stage performance. In addition, through this it desired to seek for a development possibility of Korean leisure culture and art culture. As the work cases, this study shows 10 works through actual stage performances held in Korea and introduces elements directed in those works.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.113-125
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• 2021

This research has the purpose to approach 'Audience participation theatre' through applying the concept of 'Hybrid' which newly come to the fore after 21st in a theatre space. In fact, 'Hybrid' has been suppling crucial power to create and pass a culture down for a long time, and it could not different to a theatre space. The hybridity in previous traditional theatre which is central 'text' and 'architectural theater' is limited movement only on the stage, such as 'an actor between presence and absence', 'a theatrical time between real and fiction' and 'an objet between An Sich(thing itself) and Fur Sich(thing with inner meaning). However after 20st's 'Avant-Garde' with 'decomposition sprit', the hybridity become broader from only on the stage to entire theatre space including auditorium caused by collapse the boundary between auditorium and stage. In other words, 'auditorium' and 'audience' are considered as 'a theatrical element' coequal with other elements, and it can create various special results through they are mixed equally. Therefore, 'Audience participation theatre' could regarded a kind of hybrid phenomenon between 'auditorium and audience' and 'actor and stage' which are most disparate relation, and it is also approached 'hybridized audience', 'hybridized space' and 'hybridized text' as a new identity.

• Journal of the Korean Society of Costume
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• v.51 no.4
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• pp.71-80
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• 2001

Since the beginning of the 90's, Fashion shows appear to be a type of performance form of art combining with other areas to visually entertain the viewers. This can be explained by the modern tendency to escape from society which requires formality and complicated lifestyles. Fashion shows take place in a scene Influenced by the idea of post-modernism which redefines the definition of space. A church, old factory, unoccupied ground, subway stations, or even place like a waste disposal are used as a setting. The stage set is no longer the T shape run way and the procinium arch has disappeared. The gap between audience and stage has diminished and theatrical element is added to the fashion performance by using viewers living and working environments as setting of the show. The human relation with machine based on the cutting edge technology such as the stage automation, robots and mist making sprinkler system introduces new elements with spontaneity and detailed planning in the stage performance. Music also plays an Important role in attracting viewers. The sound track covers house music to techno music. Instead of music being abstract, folks orchestral music, choirs, piano. even live concert performed by pop artist provide the liveliness of the fashion show. And the catwalk itself is a performance. Model needs to be well trained as the capable talent who can handle sensitive gestures, facial expressions, dancing and choreography. The improvisatorial interaction between audience and model lead to audience participation. Models now range from pop star, ordinary people, handicapped people, to elderly and so on. John Galliano introduced the theatrical factors for the fashion show and Alexander Mcqueen approached the fashion show as the visual art of communication. Hussein Chalayan utilized high technology skewing futurism as if in a magic show. Today the Fashion show tends to be a total performance which includes audience participation, impromptu, and that break the limitation that fashion shows previously had. This will lead the fashion industry in opening new horizon of its own.

• Journal of the Korean Society of Fashion and Beauty
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• v.4 no.2 s.8
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• pp.65-73
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• 2006

Lots of audience turn their eyes upon musical to satisfy various cultural desire. It is popular culture that was watched in culture contents industry. The stage costume which turn audience's eyes in musical the most is the sight art of stage to express visually actor(actress)'s personality, mental state, administrative position, age and the distinction of sex. This study researches designed stage costume which was based on time backgrounds and historical facts of reinvented clothes and its ornaments in Egypt by 'Sonia Rykiel' through musical, 'ten commandments' with special times. We collected home and abroad documentary records, Internet data. Moreover we viewed performance to analyze stage costume and brochure photograph data to study. In consequence the stage costume of musical 'ten commandments' found its way out of traditional clothes and its ornaments largely. We can recognize the stage costume as the most important part in drama by explaining the content on drama as costume through reinvented shape with modern sense and by taking charge of the principal part to lead atmosphere. In addition, thanks to the creative work of designer for stage costume, we can realize important intermediation to make higher artistic value of musical.

• Journal of the Korean Society of Costume
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• v.57 no.3 s.112
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• pp.90-107
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• 2007

Modernization movement has affected classical operas. Today, classical operas are often re-interpreted from the modern perspective and played differently only with the storyline maintained. Also, operas are increasingly performed outside traditional theaters as the boundaries between stage and audience become less obvious. Accordingly, stage costumes are being differently designed than before. New attempts are being made to look costumes in a harmony with increasingly streamlined stage machinery. This helps increase public attention on operas, consequently promoting the opera industry. 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 Sungnam Art Center from November 24, 2005 to November 27, 2005 in commemoration of the opening of the center. The following outcomes of the crowd are drawn from this study. A variety of splendid pink dresses, ribbons, dolls, hand mirror, and hair bands were used to express haughty girls with "Princess Syndrome." Fashion models, the envy of all woman, wore fashionable clothes including luxury dresses, fur-coats, high heels, purses, and hats, Models also had big shopping bags and gift boxes to symbolize shopping lovers in a modern society. Gay men wore tight leather trousers and vest and sleeves shirts with deeply cut neckline to express their preference for feminie style. their clothes were splendid colors that normally women liked such as gold, purple, light green, scarlet, and silver. Soldiers were in combat uniform representing their participation in the war. In particular, clothes stained with dirt, iron helmet, crutches, and canteens were used to vividly express soldiers coming back home from the war. 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 Society for e-Business Studies
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• v.3 no.1
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• pp.137-154
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• 1998

To facilitate a better understanding of the benefits, problems, and issues associated with the use of Internet and (World Wide) Web in business, we conducted an exploratory study on the use of Internet and Web by Small and Medium Enterprise(SME) using the Action-Audience Model. The Action-Audience model categorizes business use of the Web: to provide information (Informational Web), to carry out business transactions (Transactional Web), and to support business activities (Operational Web). The model also recognizes different audiences of the Web. The study shows that SMEs are in the early stage of Web use.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.4
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• pp.1-15
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• 2013

The stage costume in theater, along with the stage art, is the element that has the biggest visual effect in helping the audience to understand the theater. Nevertheless, in the domestic theater production system, compared with the other public performance products, the stage costume has been rented or purchased due to the lack understanding of the importance of the stage costume and budget problem, and thus the role of the stage costume has been undervalued. Such a phenomenon is more noticeable in the small scale theater. However, in this play White Neutral Nation (Original: Andorra), the production team and the directing team recognized the importance of the costume in the early stage of production, and accordingly lots of efforts, such as staff meetings and budget allocation, were made for the stage costume. As a result, the entire production process of the stage costume could be examined. Recently, performance culture in Korea has made rapid progress and diverse forms of public performances are created and planned. Accordingly, the level of audience has been rising and the interest in the stage costume is also rising. So, it can be said that not only the stage costume but also the production system that makes it are important. This research examined the production process of the stage costume only of the play White Neutral Nation but it is considered necessary to make researches on the production process of the stage costume used for the theater of different themes and public performances of different kinds and to systematize their production process of the stage costume.

• Korean Institute of Interior Design Journal
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• v.15 no.2 s.55
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• pp.127-137
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• 2006

In the viewing of public performance arts, it needs to make space construction appropriate for performance purposes, because the section type has an effect on audience's inspection. Therefore, this study researches the intentional characteristics and comprehends the relationship between correlation factors to influence on section type of audience space in performance facilities. In addition to, this study comes under fundamental research to propose the course of standard plan, accord with diverse requirement, in the special performance facilities which will be built up. The results as following; 1) The factors that influence the section type of the audience's space in performing facilities are divided as two elements. The first element is construction of space, viewing environment, and the second element is visual characteristic, and acoustic characteristic. 2) The section type are classified as six types, A-type(Flated type), B-type(Sloped type), C-type(Gabled type), D-type(Arched type), E-type(Reverse arched type), and F-type(Reverse sloped type). 3) Characteristics are deduced by the section type, construction of space and viewing environment are restricted by the characteristics of the section type.