• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.5
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• pp.119-127
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• 2018

This study examined the construction method shown in literatures and materials discovered in rampart, barbican and guard platform for Cheongdo-Eupseong castle which was constructed immediately before Japanese Invasions of Korea (1592-98). According to the result of the examination, the construction method used in the coastal areas and inland areas of Gyeongsang province in the early Joseon period was applied to the rampart, barbican and guard platform in the east and north castle walls, which was constructed earlier than other parts of Cheongdo-Eupseong castle. However, from the western end of the northern castle wall, which was later constructed, to the western castle wall was rebuilt using a construction method different from the method applied to the parts that were constructed earlier after Japanese Invasions of Korea. Cheongdo-Eupseong castle was constructed on a flatland on a large scale and at a low height under unreasonable pressures to construct the castle in a short period of time for military defense as well as civil agitation in the imminent situation just before the outbreak of Japanese Invasions of Korea. In addition, various methods of constructing Eupseong castle utilized at that time were used together, and barbican and guard platform were built generally focusing on rapid completion and convenience, using other methods than the one mainly used at that time. This is the reason why there was a difference in the characteristics of the method and period of castle construction between Cheongdo-Eupseong castle and other Eupseong castles in the coastal areas and inland areas of Gyeongsang province.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.359-384
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• 2012

The purpose of this study was to explore the theatrical aesthetics of the performances which was produced by the theater director, Yang Jung-Ung. Yang has been one of the most influential directors working in Korea in the last 15 years. He has put up performances all over the world with the theater members from his company called Yohangza, which was founded by him in 1997, and working as the director, portrayed his style of the theatrical aesthetics through the works of its plays and musical products. In 2012, this company performed A Midsummer Night's Dream at Shakespeare's Globe Theatre. A Midsummer Night's Dream was invited to be staged at the Barbican Center in 2006. In the same year, it received the grand prize and the Audience Choice award at the Gdansk International Shakespeare Festival in Poland. The musical products like A Good Woman from Seoul and the modern Opera Wozeck are representative works of Yohangza, which are known for a unique way of exploring the meaning of life. The 2009 plays Hamlet and Peer Gynt represent Yohangza's simpler yet more insightful theatrical style. Peer Gynt, which debuted at the LG Art Center, made headlines for its innovative staging. It received the grand prix, Best Director and Best Stage Art awards at the 2009 Korea Theater Awards. Yohangza's plays show two-side "image-based" works. The company drastically reduced verbal lines and enriched the plays with Korean sentiment and aesthetics, but their scripts contained many poetic lines full of overtones. They showed a theatrical mise-en-scene of images, energetic dance, songs in chorus and percussion. For example, Korean sentiments were subtly blended into the two Shakespeare's plays, A Midsummer Night's Dream and Twelfth Nights. Their performance combines music, mime, song and dance to create an exhilarating adaptation of Shakespeare's inventive and glittering comedy. In addition, the style of Yohangza Theatre Company is a collision of the past and the present: a reworking of existing Korean styles and themes infused with contemporary elements and full of unique exploration in the plays.