• (The) Research of the performance art and culture
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• no.35
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• pp.61-92
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• 2017

During the Japanese colonial era, traditional music performances were gradually diminishing and weakening in the particular condition of colonization. Meanwhile, from the time of enlightenment, Western genre performances were becoming vitalized with the influence of Western civilization that began to be spread steadily throughout the society. In that situation, traditional music performances tended to be mixed performances accompanied by Western ones, not independent performances. Mostly, they were accompanied by Western music, and also, they were performed along with other genres like plays, lectures, movies, dances, or magic, too. Such form of mixed performances accompanied by Western genres became even more vitalized in the 1920's and came to be positioned as a form of traditional music performances. Therefore, research on the forms of mixed performances between Western genres and traditional music is meaningful in examining the forms of traditional music performances that have not been studied in the history of Korean modern music and understanding the trends of traditional music performances which were generally found in the Japanese colonial era. However, such research has hardly been conducted concretely yet. Accordingly, concerning the forms of mixed performances between Western genres and traditional music in the 1920's, this author considered the background of vitalizing mixed performances between Western genres and traditional music mainly with newspaper articles of the time and their formal characteristics. Regarding the background of vitalizing the forms of mixed performances between Western genres and traditional music, from the 1920's, the forms of mixed performances between Western genres and traditional music became more vitalized than before. The causes of that may include the increase of groups hosting or sponsoring such performances from the 1920's and also the dramatic increase of such performances in general. Moreover, the increased performances were conducted in the forms of mixed performances mainly in order to satisfy the people's needs becoming diversified with the distribution of Western civilization. Concerning the formal characteristics of mixed performances between Western genres and traditional music, this researcher classified western genres performed with traditional music and examined what characteristics were found in such mixed performances of tradition music by the types of Western genres respectively. First, in the mixed performances type of western-type genre and traditional music, the number of programs for the western music had significant portion in general, and there were certain ensemble of the western music and traditional musical instrument that was rare at this period of time, and it also had the characteristics of classifying two genres to perform for each title or date. Second, in the mixed performances type of the drama and traditional music, the traditional music is directly participated in the drama with the similar type to the theater, or performed independently from the drama with the role of interlude performance for the stage conversion of the drama to have the characteristics of performing in audience publicity or entertainment. Third, in the mixed performances type of the lecture and traditional music, the traditional music is played before or after the lecture to play the role to set the atmosphere and entertainment for the lecture as displaying the feature to perform for the audience attraction. And, fourth, in the mixed performances type of the movie and traditional music, the traditional music sometimes directly participated in the movie or had the features of independent performance, and there was a characteristic to perform for the entertainment after showing a movie.

• The Journal of the Korea Contents Association
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• v.14 no.11
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• pp.111-124
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• 2014

This dissertation is to seek new valuable possibility of the 100 best Chinese films on storytelling in Chinese films as considering about content development of Korea and China's Collaborative film production and extension, that being magnified as a new content for variety of Korean film production. The moment to the Korean wave is getting cold in Japan, Korean wave is attempt to receive attention in new field through China by various image field with Korean drama's appeal. However, film content fall short of our expectation than media content, even if supporting much various attempts with Korea and China's Collaborative film production content. Specially, there are not satisfied films for Korea and China both counties's audience, although Korea and China's Collaborative film production has been produced steadily. The writer studies on stories of Chinese essential 100 films for searching deeply this problem. Among them, in selected 'The 100 Best Chinese Films' by China in 2005, films in 1930's are selected as the first step to study, and this dissertation searches to communicate storytelling's meaning in Chinese films through that time image. This studies what is the point of selected story by China, and there are what kind of worries. This dissertation considers that focused on characters, event and background. Chinese film in 1930's represented life in times through process of play development that is connected with poverty, reality of society, death, tragedy and tragicomedy.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.5-59
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• 2014

This paper investigates the development and aesthetics of Korean political theatre from its quickening period 1920s to democratization era 1990s. Political theatre before 90s developed an antithesis resistant movement toward Korean modern history that had been scattered with suppressing political circumstances such as colonial era and dictatorial government, the movement has powerful activity and social influences. Just like the 20 century political theatre had been quickened under the influence of Marxism at Russia and Germany in 1920s, Korea's political theatre began in socialism theatre movement form around the same time. Proletarian theatre groups had been founded in Japan and Korea, and developed into practical movement with organized connection. However, the political theatre movement in Japanese colonial era was an empty vessel makes great sound but not much accomplishments. Most performance had been canceled or disapproved by suppression or censorship of the Japanese Empire. The political theatre in liberation era was the left drama inherited from Proletarian theatre of the colonial era. Korean Theatre alliance took lead the theatrical world unfold activities based on theatre popularization theory such as 'culture activists' taking a jump up the line and 'independent theatre' peeping into production spot as well as the important event, Independence Movement Day Memorial tournament theatre. Since 1947, US army military government in Korea strongly oppressed the left performances to stop and theatrical movement was ended due to many left theatrical people defection to North Korea. The political theatre in 1960s to 70s the Park regime, developed in dramatically different ways according to orthodox group and group out of power. The political theatre of institutional system handled judgment on sterile people and had indirect political theatre from that took history material and allegory technique because of censorship. In political theatre out of institution, it started outdoor theatre that has modernized traditional performance style and established deep relationship with labor spot and culture movement organizations. Madangguek(Outdoor theatre) is 'Attentive political theatre', satirizing and offending the political and social inconsistencies such as the dictatorial government's oppression and unbalanced distribution, alienation of general people, and foreign powers' pillage sharply as well as laughing at the Establishment with negative characters. The political theatre in 1980s is divided into two categories; political theatre of institutional system and Madangguek. Institutional Political theatre mainly performed in Korea Theatre Festival and the theatre group 'Yeonwoo-Moudae' led political theatre as private theatre company. Madangguek developed into an outdoor theatrical for indoor theatre capturing postcolonial historical view. Yeonwoo-Moudae theatre company produced representative political plays at 80s such as The chronicles of Han's, Birds fly away too, and so on by combining freewheeling play spirit of Madangguek and epic theatre. Political theatre was all the rage since the age of democratization started in 1987 and political materials has been freed from ban. However, political theatre was slowly declined as real socialism was crumbling and postmodernism is becoming the spirit of the times. After 90s, there are no more plays of ideology and propaganda that aim at politicization of theatre. As the age rapidly entered into the age of deideology, political theatre discourse also changed greatly. The concept 'the political' became influential as a new political possibility that stands up to neoliberalism system in the evasion of politics. Rather than reenact political issues, it experiments new political theatre that involves something political by deconstructing and reassigning audience's political sense with provocative forms, staging others and drawing discussion about it.

• Cross-Cultural Studies
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• v.42
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• pp.393-418
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• 2016

Raquel, the representative work of Vicente García de la Huerta, an 18th century Spanish playwright achieved theater box-office success and popularity during staging. It has been evaluated by many scholars and critics as the ideal drama that faithfully followed the norms of neoclassicism, which pervaded the aesthetic mainstream at the time. However, the factor that enabled the popular success of this theater production was its ability to harmonize the themes or contents with a traditional play to meet the unique trends and tastes of Spanish viewers who were still appreciated earlier Baroque theater, rather than complying with external norms of neoclassicism such as principle of three unities or exclusion of comic figures etc. That is, Spanish viewers of the time thoroughly rejected theater of neoclassicists who attempted to unilaterally enlighten them while regarding the Baroque theater of earlier times as full of superstition and irrationality, illogic and disorder, regardless of their own dramatic taste. In this situation, Huerta's tragedy Raquel, achieved the harmony of neoclassical tragedy and Spanish theatrical tradition. It thus emphasizes the importance of public support and sponsorship in dramatic success. Traditional dramatic elements shown in Raquel can be summarized as honor, poetic justice and love and these elements are major dramatic codes penetrating the entire Baroque theater of Spain.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.251-262
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• 2020

The purpose of this study is to analyze musical styles emerging in modern musical history from the perspective of integration and deconstruction, and to academically investigate the characteristics contained in each style. The style of musicals can be divided into periods of non-integrity, integration, deconstruction, and convergence. The rise of musical styles and the associated meanings can be studied from the perspective of modernism and postmodernism. In modernism, the energies of 'integration' and 'concentration' form the major trend while in early postmodernism, the powers of 'deconstruction' and 'dispersion' play the main role. Late postmodernism is a dialectic result of both trends in which the philosophy of 'convergence' and 'harmony' operates as the main theme. The principle of integration and deconstruction, which forms the base of musical creation, emerged after the development of the unstable style of non-integrity in the early days of musical. Later, with the advent of Rogers and Hammerstein II, the principle of integration was established for book musicals, emphasizing the linearity of drama, and the principle of deconstruction was born for concept musicals to contain new contents. The 'convergence' found in later musical works turn the theme from non-integrity to integration, and from deconstruction to integration again, which indicates that integration is embracing the concept of deconstruction again in a more advanced sense. Such convergent compromise that constantly influences each other and develops in a better direction can contribute to the development of musical styles.

• (The) Research of the performance art and culture
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• no.19
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• pp.35-60
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• 2009

I insisted that the structure should be set newly, pointing out problems in a structure of the big gut, Jain dano je in this paper. Although, the big gut is playing now in Jain dano je, the features of gut geo-ri are vague ; that's why gut geo-ri and performances are entangled. Therefore, the gut geori showing strange structures not fitted with korean shamanist custom is playing these days like Pawangbyeolhui and Eoudong geori. The detailed procedure is also awkward. It is mixed with aspects of shaman custom in each region, instead showing features of regions. What's more, it became a dance drama, not gut geo-ri with several shamans dancing in a gut. Overcoming these problems, the big gut will be a cultural asset. Therefore, when considering the structure of korean gut, we will fit the order of gut geo-ri into the system of divine spirits keeping a plot-opening, developing and closing. It should be a gut geori-oriented play with only gut geo-ri things. Gut should be gone forward main shaman-oriented gut, setting up a main shaman who takes charge of each gut geo-ri. We should find out a new shaman who knows gut of Gyeong sang province well, if shaman who now takes charge of it has a problem. The big gut of Jain dano je became a part of intangible cultural assets. The performance is not a subject of curiosity and people's interests any more as it was in a past. It should be a traditional performance of representing our traditional culture. We should reorganize an epochal gut geo-ri after reexamining gut geo-ri which has played so far.

• (The) Research of the performance art and culture
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• no.40
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• pp.223-268
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• 2020

In contemporary Theatre, the case of inducing direct communication between the audience and the performance is prominent. Especially with the development of digital technology, the audience wants a personalized experience. The emergence of 'immersive Theatre' in this trend has attracted great attention both at home and abroad. In particular, the most important role in the emergence of the concept of 'immersive Theatre' is the British punchdrunk Theatre. Their representative performance began to premiere in London in the UK in 2003 and has expanded to include New York and China in Shanghai and continues to be extremely popular until 2019. In general, a review of existing studies on the role of the audience in shows that the focus is on the participation of the audience. What experience will be given to the audience can not be emphasized in contemporary Theatre. In order to satisfy the diverse needs of the audience, contemporary Theatre are increasingly showing complexity that cannot be explained by any one theory. The same goes for . This is because each audience wants a personalized experience, and there are differences in experience depending on the environment in which the audience also grew up, knowledge, culture, and taste. This study selected Punch Drunk's as a performance that can represent contemporary Theatre, and conducted a study on the role of audience in contemporary Theatre. To this end, we have historically explored past discussions about the role of the audience and discussed the characteristics of the role of the audience in contemporary Theatre. Next, I analyzed in detail the experience of the researcher "He" who watched the performance with the researcher on the role of the audience in . In conclusion, the experience of the audience in is diverse and complex. In other words, the role of the traditional audience in the proscenium play, as well as the audience as a participant in the post-drama play, was also complex in the performance. And this complexity was not a coincidence, but a planning strategy for the Punchdrunk Theatre. Therefore, when discussing the role of the audience in contemporary Theatre, there should be a discussion that clearly sees the complex characteristics of contemporary Theatre through the approach from various perspectives, rather than merely one view of the audience as a participant. something to do.

• (The) Research of the performance art and culture
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• no.39
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• pp.457-507
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• 2019

The purpose of this study is to explore the formal and content features of the material for the Changgeuk album , which was produced and released in 1971. Changgeuk album was produced and published as a headword for "Changgeuk". However, it differs from the style of Changgeuk which is treated as a stage drama in that the narrative is developed around the commentary and dialogue in the formal aspect and the Pansori is only partially used. The styles of Changgeuk, implemented through gramophone record, radio broadcasts and television broadcasts, varied widely, unlike those of Changgeuk established in the 1930s. Pansori music wasn't the only center, and traditional performers weren't even the main members of the play. The characteristic form of the Changgeuk album is an experiment of Changgeuk that emerged naturally with radio reading and the advent of radio dramas in the 1950s and 1960s. So it is necessary to pay attention to the Changgeuk album in that it shows diverse forms of experiments conducted by Changgeuk in the newly introduced culture and media in the middle and late 20th century As for the contents of the Changgeuk album , the work embraces Lee Jong ik 's novel (1957), but develops the narrative centering on the life of Saint Sa-myung(四溟大師). And it is faithfully portraying the life of a Buddhist monk and the national salvation hero who pursued the original work. This content composition can be understood in the will of singer Lee Yong bae, the soundman who produced the album, and in the flow of historical dramas that summon the historical hero of the old country of the time to the stage. Singer Lee Yong bae reflects on his life in the past when he was full of greed and conceit through his life as a monk of Saint Sa-myung(四溟大師) and is greatly impressed by the personal aspect of Saint Sa-myung(四溟大師), and these emotions encouraged his creative will. Also, the Changgeuk record is meaningful in that it is one of the specific materials that embodies the national hero as a record and a traditional play under the discourse of the people, the nation in the 1970s.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.189-228
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• 2014

The purpose of this research was to summarize Korea and China's researches on Noh and to examine main domain in this field, by investigating the academic books and articles published in two countries. In 1960s, since Nohgaku has been introduced to China, academic articles on Zeami's theories and aesthetics have emphasized on aesthetic characteristics of Chinese plays and Japanese Nohgaku through the similarities of oriental plays. The number of researches on Kabuki is almost twice as that of researches on Noh in China. While most researches on Kabuki were compared with the styles and music of Pecking Opera and the theatrical theories of liyu[李漁], those on Noh has been highlighted the comparative studies on $Y{\bar{o}}kyoku$[謠曲], Chinese Noh plays. The main difference among the researches on $Y{\bar{o}}kyoku$ in Korea and China was the material regarding characters of Noh. Because song yuanzaju[宋 元雜劇]and Nohgaku in Chinese-Japanese plays were the mature form of the classic plays and those were representative of traditional nation plays, this researches tried to ascertain the cultural origins of two countries regarding the aesthetic characteristics by referencing lyrical and narrative features[曲詞] of yuanzaju[元雜劇]and the classic waka of Nohgaku. While the comparative studies on Noh and song yuanzaju and kunqu[昆劇] in China were prevalent, national researches have emphasized on the inner world of the main character and dramaturgy through the verbal description of Noh. Especially, this research tried to investigate the inner world of the main character and the intention of the writers through the verbal description of Noh authorized in the history of the works. Also, the researches on Buddhism in the Middle Ages and religious background were examined significantly. In addition, the $Y{\bar{o}}kyoku$ has influenced on European modern playwrights and the comparative studies between the materials of $Y{\bar{o}}kyoku$ and Western modern plays were concerned. In Korea, the comparative studies on Noh between Korea abd Japan has been most focused on the origin theory of Noh. The fact that appearance theory of Noh had originated from Sangaku was common opinion among Korean, Chinese, and Japanese scholars. However, they are agree with the opinion that according to the formation of the different genres, Noh's mainstream was different among three countries despite of the same origin. Yuan drama and Noh play have the same origin, but different branch. In relation to the Noh's origin theory, there are literature comparative studies in religious background, the studies presumed the origin of instrumental music related to those in mask plays, and the comparative studies between Korean mask plays and $ky{\bar{o}}gen$ of Nohgaku. Kyogen is the Comedy inserted among the stories in Nohgaku performed in just one day. Therefore, $ky{\bar{o}}gen$ must be discussed separately from the relations of 'shite[任手]'s inner action veiled with masks. This research figured out that the lacking points of the two countries' researches were the acting methods of Noh. Academic articles written by foreign scholars studying Korean and Chinese theatres should be included when this issue will be dealt with. In Korea and China, translation studies and writings regarding Nohgaku have studied by those who are major in Japanese literature or oriental literature. This case is the same in Korea in that scholars whose speciality is not theatre, but Japanese literature has studied. Therefore, this present study can give a good grasp of whole tendency on Nohgaku's research in theatre fields.

• (The) Research of the performance art and culture
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• no.25
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• pp.57-89
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• 2012

The performers preparing for a performance usually experience the process of mental transference, contacting with text (drama) for the first time. It is movement from their everyday life to space in the play, when they try to break the wall between cast and themselves. The transference happens actually at the physical space, such as a dressing room, wing, (place just before appearing at a stage), and a stage (place to contact with audience). Performers keep moving among each psychological and physical space repeatedly, until the performance finishes totally. The transference means moving to each space to another, and the mental borderline means the point of mental change the performers experience during the process of transference. The mental borderline can be guessed to exist through mental aspects the performers feel when they move from each space to another. The most typical example, that shows performer's mental borderline well, is stage fright shown as tension, or anxiety among the variety of aspects. According to a research, the most performers experience that kind of mental aspect just before appearing at a stage. The study on it is already referred by my article.' A Study on Korean Performer's Stage Fright. This study aims at examining the relationship among psychological and physical space the performers experience, mental borderline when transferring and penetrating those spaces, and performer's mental change First, the concept of mental borderline is to be understood totally with preceded research. And the space the performers experience and mental borderline at transference are to be reorganized. Secondly, the area of transference in the process of performance is to be reclassified into physical and mental space. Third, analyzing the actual case of performers experiencing the mental borderline, the diversified use should be searched to make use of mental borderline as a positive element. The psychological symptoms, performers experience in the performance, can have positive consequence beside negative one. The tension occurring at the area of borderline is positive, and it can be the actual borderline for the performers. It will be researched how the performers change at the mental borderline, the state of mind is maintained, and they perform in an overall performance, through the study on the relationship between the transference and the mental borderline. And the stress and concentration caused by stage fright, and shyness will be confirmed, and the positive element of a stage, which is used as various defense mechanism.