• 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.

• Korean Institute of Interior Design Journal
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• v.19 no.3
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• pp.172-179
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• 2010

The Sydney Opera House is built on a peninsula of rock that juts out into Sydney Harbor. The site was once a landing place for ships. Utzon, Architect, designed the theatres for the Opera House to fit the shape. The two theatres were placed side by side so that they both had extensive harbor views. The Sydney Opera House is designed the foyers to take full advantage of these sights. Because the building would be seen from all sides, even from above, it was to be a piece of sculpture. The outside was as important as the inside. The audience enters from behind the stage and walks around to the foyers overlooking the harbour. The wing and backstage areas are small because of the way the foyers wrap around the theatre. The stage is made up of large platform lifts which provide the vertical movement for changing scenery. The sets come up from the workshops below stage. The flytower fits under the largest roof shell and doesn't break the skyline. The important elements are the podium, the shells and the reminders. The podium, the huge monolithic concrete structure, contains hundreds of rooms and nearly all the technical equipment. The podium is clad with pink granite slabs and seen from the water. This design eliminated a maze of fire escape stairs and, at the same time, gave people a wonderful view of the harbour. The egg shell is remarkably strong and express the form as the symbol of the site.

• Korean Journal of Optics and Photonics
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• v.17 no.1
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• pp.89-93
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• 2006

We investigate a method to improve the extinction ratio of directional couplers by controlling the angle of approach to their input ports and controlling the error limit for improving the extinction ratio of the directional coupler. Although relatively large angle of approach to the input port usually causes an error in calculations made by mode propagation analysis(MPA), optimally designed angle of approach not only minimizes errors in MPA calculations but also can improve extinction ratio by precision control of coupling coefficients of optical modes. We show that abrupt changes in approaching angle, although not enough to cause modal leakage, give rise to field-profile overshooting, which degrades extinction ratio and other properties of the directional coupler. Using Beam Propagation Method (BPM) we calculate two types of input structures, linear and curved, for optimization of extinction ratio.

• Korean Journal of Optics and Photonics
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• v.22 no.1
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• pp.53-57
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• 2011

In this paper, we improved the light extraction efficiency by considering an additional upper layer on the top surface of a conventional LED. We simulated the LED's light emission as functions of the thickness and the refractive index of the upper layer, and analyzed how the condition improved the light efficiency. When the refractive index's range was from 1.05 to 1.40, the LED emission increased. For that case, the emission also increased as the thickness increased. We experimentally showed that the light extraction efficiency was improved about 22% by forming the upper layer on the top surface of an LED using material with refractive index 1.30 at 589.3 nm. It is expected that forming the upper layer on an LED can easily improve the extraction efficiency.

• Journal of Fashion Business
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• v.19 no.2
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• pp.53-68
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• 2015

The Beijing Opera is one of the leading representatives of Chinese culture, which includes literature, music, dance, martial arts, and a type of performance that stems from the Chinese cultural history that is still relevant today. The purpose of this study is to develop fashion-cultural products from the Lian Pu of the Beijing Opera, a Chinese cultural tradition that receives abundant positive feedback from around the world, showing its value in both academic and practical fields. This study was carried out first as a theoretical study of the literature, definition and types of facial make up used in the Opera, as a way of examining the formative aspect. Secondly, an analysis was conducted on the main characters, 'Guan Yu' and 'Zhang Fei' of "The Romance of the Three Kingdoms", 'Li Kiu' and 'Lu Zhishen' of "All Men are Brothers" and 'Monkey King' of "Journey to West", employing the collection belonging to 'Yongqi Zhao' who is an expert on the Chinese Beijing Opera. Thirdly, two concepts were categorized, based on the analytic results of the abovementioned characters, each of which were then further categorized into three sub concepts. In regard to cultural development designs, the results of an analysis on the facial make-up color, form, and texture of the four main characters were utilized to construct the themes, "Modern Chic" and "Traditional Splendor". The simplest form that has been represented in the four figures has been applied to "Modern Chic" to show a modern image in which black, white and light blue has been used alongside the vivid red, which is a Chinese favorite, to highlight the characters. In "Traditional Splendor", which is focused on the stage art of the Opera, we see more artistic traditions and colors, to further appeal to our emotions. Traditional motifs have been applied using traditional Chinese arts, in order to develop strong and brilliant colors. The two styles of cultural products were developed in the form of women's scarves and men's ties; a total of 24 designs were expressed, using Illustrator CS6. In the final step, 4 scarves and 6 ties were produced as a sample, using high quality silk. The development of these cultural fashion products will bring an opportunity to show how Chinese traditional culture can be widely utilized in commercial market design.

• Korean Journal of Optics and Photonics
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• v.16 no.3
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• pp.261-265
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• 2005

The large and polarization-independent photonic bandgap (PBG) is very useful to the application to various optical devices. Until present, it has been known that the PBG for a triangular lattice remains the largest both in the E- and H-polarized modes. However, we proposed a new structure with a larger polarization-independent PBG, by analyzing and systemizing the PBG opening trends as the structural changes. This optimal structure for maximum bandgap has more increased gap-midgap ratio $(\Delta\omega/\omega)$ of about $30\%$ than the triangular lattice.

• Journal of Fashion Business
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• v.2 no.3
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• pp.121-136
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• 1998

The purpose of this study was to present a new research method of stage costume by designing and making the stage costume of Yean-GaeSoMoon(淵蓋蘇文) in Peking Opera Du Mu Guan (Korean; Dog Mog Guan, 獨木關). The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera didn't have the same rank system with real history costume and didn't have demarcation according to period and history. In the stage costume of Peking Opera, the color is cultural language that can inform spectators of sex, age, personality, position of characters. The pattern of decoration also symboled the personality and characteristic of the character. Yean-GaeSoMoon in the play wore green armour (Chinese; ru ying kao 綠硬靠), red pants (Chinese; hong ku 紅褲), red mustache (Chinese; hong ran kou 紅髥口), crown (Chinese; da e zi 大額子), shoes (Chinese; hou di xue 厚底靴) and Xue RenGui wore white armour (Chinese; baikao 白靠), red pants (Chinese; hong ku 紅褲), shoes (Chinese; hou di xue 厚底靴), hat (Chinese; za jin 扎巾). By historical materials, Yean-GaeSoMoon was a nationalist who uphold national sprit and the greatest hero of the age and a charismatic politician who combines literatural arts with military arts. Considering these reviews, defined the thema of his new costumes' image as "the flying bird which has three legs"(三足鳥), the bird which symbolized the sun and immortality in Koguryo fresco. On the basis of this image, presented three types of Yean-GaeSoMoon's stage costume. Yean-GaeSoMoon as the minister in the court wore black gown (Chinese; mang pao 蟒袍) of dargon pattern which symbolizes harisma who opening the heaven. He as the general who directs war wore red mantle (Chinese; dou peng 斗蓬) which symbolizes the blue dragon that soaring into the sky, as the officer who fights the enemy's general wore green armour (Chinese; gai liang jia 改良甲), red pants (Chinese; hong ku 紅褲) which symbolizes the flying Sward that blowing violently. By wearing these stage costumes, the image of Yean-GaeSoMoon could changed from the fierce general of minority race who likes to fight, to the Koguryo general who fights against enemy at the risk of his life for Koguryo's autonomy. Through this study once again we could realized that stage costume played very mportant part In outstnding the characteristic of actor in the Peking Opera.

• Journal of the KSME
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• v.19 no.1
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• pp.314-319
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• 1979

우리 국립극장 대음악당의 음향특성을 측정하여, 해석하고 그 정식음향평가를 최초로 시도했다. 여기서 문향악과 가극연주에 대한 평가에 있어서는 특히 공시의 음향특성 Data로부터 만석시의 음향특성을 세심하게 연역해 냈다. 결과는 주로 생동감의 심핵한 결지으로 말미암아 그대로는 낭만파음악과 전형교향악은 물론이고 고전음악까지도 연구가 매우 곤란하고, Baroque 음악만이 겨우 연주가 가능할 따름이다. 가극에 대해서도 Wagnerian Opera 는 힘들고, Italian Opera 만이 어느 정도 만족스럽게 연주가 가능하다는 것을 알아냈다. 끝으로 이 음악당의 음향특성 개선을 위한 수정방안을 수개제시하고 언급해 놓았다.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.509-547
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• 2012

The Seoul Arts Center is an representing Korean arts-complex consisting of the Opera House, the Concert Hall and the Museums. Since its opening in 1993, it has been established as a mecca of arts and the culture in Korea. Many local public theatres in Korea are benchmarking its operating system and policy. Unlike most European or American theatres, the Seoul Arts Center has no resident art companies. It is not a 'producing theatre' whose programming is mainly based on house productions with resident companies, but a 'presenting theatre' that is to be managed with rental and invitation programs without resident companies. The majority of the Korean public theatres are also presenting theatres. This study aims to research and analyze how the Seoul Arts Center has developed the programming of the Opera House for last 19 years and which challenges and issues it has been dealing with, and finally to propose what will be recommendable remedies for its successful future. The analysis is divided into four development stages: preparation period from 1981 to 1992, establishment period from 1993 to 1999, growth period from 2000 to 2006, and lastly crisis period from 2007 to 2011. Facing the 20th anniversary next year(2013), the Opera House of the Seoul Arts Center is going through recent critical situations: higher competitions among increased theatres, trends of commercial musical productions, and rapid declines in its house programs due to the low budget and unclear programming policy. I propose as a discussion to start a repositioning strategy as a Korea's representing arts-complex, utilizing all sources from inside and outside and having the policy direction.

• Journal of the Korean Society of Costume
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• v.57 no.1 s.110
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• pp.176-186
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• 2007

The purpose of this study is to reconstruct upper class women's costume of 'Mongol-pung' and 'Goryeo-yang' in a civilization-exchanged period between Mongolia and Korea, for making movie or soap opera costume and historical animation. 'Mongol-pung' was a cultural influence from Mogolia to Korea. For example, sleeveless bi-gap(比甲) and half-sleeved dap-ho(搭忽) were put on by many women at that time. On the basis of old literature, I suggest a 'Mongol-pung' costume as a set of seeran-chulrik(膝欄 terlig), em-broidered bigap, dapho of meat-red color for women. 'Goryeo-yang' was a cultural influence from Korea to Mongolia. Due to old poem of Yuan, 'Short outer Jacket with square neckline, half sleeves, and clear color(方領過腰半臂)' was a representative of 'Goryeo-yang' in Mongolian royal women's costumes. Many women were dressed in it with short inner jacket and wide skirt. In the case of making soap opera costume, the budget of broadcasting station, appearence of nowaday's actor and actress, similarity between old fabric and modern fabric must be considered altogether.