• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.101-110
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• 2019

The actor's art work is to build and create a role on stage based on the writer's drama. The actor's role creation is possible by analyzing the role of the writer in the drama logically and acting it actively. This is how an actor who practices practical acts goes beyond a stereotypical role-building and performs live acting skills. A case study in the field work for the application of Etude is absolutely necessary at present, where Etude of Stanislavsky is operated in Korean university education and field. This study will be a case in which Etude, which is a scientific and systematic acting methodology of Stanislavsky, is recognized and applied in the field as a methodology for more extended actor training methodology rather than making a judgment about the value of Etude as applied to theater education and the field as an acting training method. The researcher will introduce the methodology of using Etude as an acting method of Stanislavsky through the use of Etude in the creative play , and would like to give an example of an acting creation process model about 'how to apply Etude'. Through these studies and applications, actors can avoid falling into stereotypes and mannerism, and prepare the foundations for a living actor's art, the acting guide for creating a practical role.

• (The) Research of the performance art and culture
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• no.20
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• pp.5-30
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• 2010

It has been diversified and serious attempt to establish the identity of Changgeuk, but it is still independent dramaturgy or the current unformed progressive art. In this situation, exploring works of the identity of changgeuk that is base on the performed individual and specific works in the title of Changgeuk is needed. The 80s and 90s Heo, Gyu was leading an active life as a director who was responsible for directing of Changgeuk. He dramatized Siljeon Pansori -which is a group of Pansori missing text- as well as 5-remained Songs in Pansori and he presented a number of creative Changgeuk works on stage. Especially, the completion of dramatizing 5-remained Songs in Pansori under the name of 'Wanpan Changgeuk -which means full version performance without omit-' is the one of his big achievement by performing "Heungbojeon" on the stage 1982 and "Jeokbyeokga" 1985. The purposes of this research are confirmation of Heo's direction of the formulation and considering its characteristics & significance through 'Wanpan Changgeuk' which written by Heo. Heo was a practical play who was interested in the subjective formulation of national culture and creative transmission for Korean traditional performance. He tried to formulate Changgeuk to a representative performance of Korea. In the process he pointed out those problems, (1) interpretation of a work problem, (2) actor's creative problems, (3) structure problem of theater for Changgeuk. He indicated that the other challenges are to use of the stage & device, to overcome sentimentalism, to stylize acting, to improve own quality, to control the speed and length of the song, to choose the suitable musical accompaniment, to create new repertories problems, and etc. Changgeuk is classified in 3 group by origin, (1)dramatizing of 5-remained Songs, (2)dramatizing of 7-missing Songs, (3)creative dramatizing. It contains all of 3 types that Heo's work. The dramatizing of remained 5 Songs are the great importance among those works. Heo hoped that Chaggeuk has become the most representative art work of Korea by performing 'Wanpan Changgeuk' compiled heritage of Korea's outstanding artistic achievement. The characteristics of 'Wanpan Changgeuk' can be summarized following four. (1) Directing attitudes that emphasizes tradition, (2) Accepting the elements of traditional performance actively, (3) Valuing the classy and ethic, (4) Emphasizing humor and active utilizing of the secondary characters. Heo's 'Wanpan Changgeuk' shows a peak of the artistic level which Changgeuk can be reached. He want to make Changgeuk a Korean representative artistic performance by compiling Pansori heritage and accommodating Korean traditional performance. Heo continued his effort to present Pansori's authenticity and to dramatize from beginning to end without missing. It shows very well that 'Wanpan Changgeuk' takes 4~5 hours for playing. It looks Heo's achievement in the 'Wanpan Changgeuk' influenced Changgeuk significantly since then. Heo's 'Wanpan Changgeuk' is matrix of 'Wanpan JangMak Changgeuk' attempted in the 1990s. Especially, their intent is consistent to synthesize texts and to show all the virtue of Pansori. But 90's 'Wanpan JangMak Changgeuk' aim for large stage, fancy device & costume and variety contents compared with 'Wanpan Changgeuk'. Recently, producers have tried not to make a impressive Changgeuk but to make a interesting one. They usually organize performance within 2 hours and prefer orchestral music to its unique sound. In those point of view, it seems that Heo's idle in 'Wanpan Changgeuk' has become one of target to conquer in these days.

• International Commerce and Information Review
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• v.17 no.2
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• pp.285-305
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• 2015

In the era of creative economy emphasizing creativity and entrepreneurship, the Korean small and medium-sized enterprises(SMEs) never ignore them. Especially, firms, that would like to penetrate into international markets and hence survive in them, must have creativity and entrepreneurship. Nevertheless, little study has been studied the casual relationships of the variables comprehensively. Therefore, based on small and medium-sized exporters, this study would like to investigate empirically the relationships among the creativity, the entrepreneurship, and the level of internationalization. According to the research results, firstly, creativity has positive and significant effects on entrepreneurship. Moreover, entrepreneurship has a positive and significant effect on the level of internationalization. Finally, it was found that entrepreneurship partially mediated the relationships between the creativity and the level of internationalization. These results implied that creativity and entrepreneurship can play a pivotal role in improving the level of internationalization.

• Journal of Digital Contents Society
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• v.1 no.1
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• pp.77-88
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• 2000

Leading educational paradigm based on Constructivism drives for many changes in the field of education. It causes the shift from instructor-based to learner-based learning, and cooperative teaming amongst the learners. Multi User Game (MUG) which is a network-based cooperative game is popular among many college students. MUG is known to provide positive and creative activities encouraging learners to participate, reform and produce new knowledge and skills. Thus, it has potential as an effective learning tool. In this study, however, we have designed a prototype of Cooperative MUG Game for elementary students to learn within networked environment to play while learning new knowledge and skills. The elementary students will interact with the other students through chatting while playing MUG.

• Journal of the Korean Geographical Society
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• v.43 no.6
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• pp.873-893
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• 2008

This article focuses on reviewing place branding theories as a major toolkit of 'soft regional development'. Place branding provides sophisticate methodologies to strengthen city and regional image and identity. For effective place marketing practices, four of useful place branding tools are suggested. They include the methodology of place identity development, brand leadership system in local governance, construction of city brand architecture, and evaluation model for city brand equity. A process model is suggested for systematically organizing the diverse tools of place marketing and branding. The model is expected to be used as a framework of strategical soft regional development and planning. The place branding process model is to be an important theoretical and methodological basement of postmodern urban and regional development on which creativity, symbol and signs are more emphasized. More in-depth theoretical and empirical studies are needed. Geographical tradition and knowledge can play important roles in this inter-disciplinary process.

• Archives of design research
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• v.16 no.4
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• pp.345-354
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• 2003

The Greek theater was the first one which was built artificially and the Roman theater was erected as creative form following the Greek theater The style of these ancient theaters has influenced modern theater. In terms of the purpose and function of the theater, the Greek was derived from religious purpose but the Roman was derived for amusement. We can observe several differences in comparing the Greek with the Roman theater. In the shape of the theater, the Greek theater was dignified and grand and had an open-air structure, but the Roman theater was splendid and ornamental and had a roof over the stage. In the character of the theater, the Greek theater was democratic but the Roman theater was partial. The Greek and Roman theaters have became one source of the modern theater as the Greek and Roman plays have became the source of the modern play, although there are several differences according to the social and dramatic characters.

• Fashion & Textile Research Journal
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• v.18 no.3
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• pp.272-281
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• 2016

From the year 2000 on, Seoul has aimed to be a fashion city, and thus has been supporting young designers through Seoul Fashion Creative Studio, Generation Next, Le Dome, Concept Korea, etc. London is famous for nurturing young designers through the joint help of government, schools and industries: Alexander McQueen, Christopher Kane and Peter Pilotto are successful cases. Therefore, this research aims to suggest a direction for policies aimed at helping young designers in the international market, on the basis of London's nurturing programs and ideas from a literature review and case studies. The results are below. Firstly, a step-by-step supporting program is recommended. Secondly, long-lasting, sustainable programs are considered essential to support designers after the end of their contracts. Thirdly, practical assistance is preferred to monetary funding in order to lighten the designers' lot and in the interests of transparency. The mentoring service should be strengthened for the designers to eventually become independent. The support should be tailor-made according to items. Fourthly, the supporting programs should be promoted. Fifthly, government and industries should collaborate. Sixthly, 'de minimis' against overlapped support should be legislated. For these, the change of supporting method can be helpful; an independent administrative organisation plans and collects funds from governments and companies. Through these programs and any subsequent studies, Seoul could become a fashion city where young designers play active roles at a global level.

• Journal of the Korean Institute of Rural Architecture
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• v.14 no.3
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• pp.51-60
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• 2012

Gwangju Metropolitan City has implemented a creative regeneration project of Gwangju Folly in the site of Gwangju-eup Fortress as part of the Gwangju Design Biennale by inviting well-known international architects. This study examined and analyzed the characteristics of location, place, and space through actual survey. The results were as follows. Gwangju Folly were mainly located at the four gates and corners of Gwangju-eup Fortress, main entrances of Asia Culture Complex, and historical places where the May 18 Democratization Movement occurred. The common place of Gwangju Folly was a footpath and common location types were the full location of footpath width and the partial location of footpath width. For the spatial types of Gwangju Folly, the practical type which people can stay was the most common(2/3). In the partial location of footpath width, the type which people take a rest and look out over the surroundings accounted for a half. In the full location of footpath width, the gate type which people pass accounted for 2/5. However, as footpath width was minimum for walking, both partial and full occupation types were narrow in place. It influenced the image of Gwangju Folly. Gwangju Folly did not play as a figure and show architects' intentions clearly because of their narrow locations. Therefore, it is very necessary to make a plan to maintain places so that Gwangju Folly do not have a cramped image and architects' intentions become clear with citizens' cultural competence. Also, urban property which creates the identity and attraction of Gwangju continuously should be settled down through helping citizens recognize the intention and value of artistic works.

• The Korean Journal of Physiology and Pharmacology
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• v.15 no.6
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• pp.371-382
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• 2011

We performed experiments using Aplysia neurons to identify the mechanism underlying the changes in the firing patterns in response to temperature changes. When the temperature was gradually increased from $11^{\circ}C$ to $31^{\circ}C$ the firing patterns changed sequentially from the silent state to beating, doublets, beating-chaos, bursting-chaos, square-wave bursting, and bursting-oscillation patterns. When the temperature was decreased over the same temperature range, these sequential changes in the firing patterns reappeared in reverse order. To simulate this entire range of spiking patterns we modified nonlinear differential equations that Chay and Lee made using temperature-dependent scaling factors. To refine the equations, we also analyzed the spike pattern changes in the presence of potassium channel blockers. Based on the solutions of these equations and potassium channel blocker experiments, we found that, as temperature increases, the maximum value of the potassium channel relaxation time constant, ${\tau}_n(t)$ increases, but the maximum value of the probabilities of openings for activation of the potassium channels, n(t) decreases. Accordingly, the voltage-dependent potassium current is likely to play a leading role in the temperature-dependent changes in the firing patterns in Aplysia neurons.

• Journal of Korea Game Society
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• v.2 no.2
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• pp.66-71
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• 2002

The common lives of the korean people reflect the feeling and emotion of their own world irrespective of rank and class. The folk picture which has the humor, feeling of the korean people, has been with the whole nation throughout times. Therefore it reveals the imaged tradition, recordable character and the truth. It is the folk picture that is the first stream of the game graphic. Because it has its own world built by timeless culture, philosophy, religion, art, and so on. When the game is understood as the reappearance of virtual truth, and the whole new world of the game players, it is really necessary to develop the game graphic with creative plans and artistic value. It is the time to focus on the korean folk picture as a new sources of the contents. Then it is obvious to solidfy the groundwork of the game industry if people at all ages play games as a result of reinterpreting and developing technical tools for the korean folk picture for the present age.