• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
• /
• v.2 no.1
• /
• pp.20-23
• /
• 1986

The singing arts of Chinese opuses are rich and colourful. Every race, region, provine, even the country has their local favour opera and special singing norms. In this paper I can only report in the main, about 50 goners. (omitted)

• The Research Journal of the Costume Culture
• /
• v.18 no.6
• /
• pp.1112-1128
• /
• 2010

This study aims to know the trace of Korean musical, consider musical depending on its type, arrange characteristic of musical costume and find out the developmental direction of Korean musical costume with potentials as a culture industry. For study method, the data were collected from thesis, academic journal, book and internet web-site concerning musical costume, literatures were considered and performance costume photos, which were captured via musical performance site, were analyzed. The history of Korean modern-day musical is regarded as starting with (1966) in the full scale. Although foreign musical was imitated in 1970s~1980s, it may be called the growth period of Korean musical because the period showed the commercial possibility. Since 1990s, large-scaled musical securing good work and popularity was popular. In 2000s, musical industry was abundant quantitatively and qualitatively as investment or popularity was significantly expanded. The type of Korean musical are divided to opera musical of European, Broadway musical of American and creative musical of Korean. The costumes used in opera musical of European and Broadway musical of American are borrowed from original works through license or were manufactured in Korea by referring to the costumes of original works and using similar materials or fabrics. The costumes used in creative musical of Korea are designed by either domestic or foreign designers and produced in Korea.

• Journal of the Korean Society of Costume
• /
• v.59 no.5
• /
• pp.101-114
• /
• 2009

In recent times Fusion Historic Soap Operas have been produced and highly rated in Showtime. They have encouraged more creative costume designs for historic soap operas, as it is difficult to re-create costumes of the era in which the soap opera is set, knowledge of which is scant or even non-existent. These more creative and innovative costumes appeal to young modern audience in a way which the more classical setting did not. This study aims to study styling of combat uniforms in two Fusion Historic Soap Operas- "Zumong" and "Taewangsasingi" and to introduce new styling for future use. Those combat uniforms in two fusion historic soap operas were reproduced by modern imaginations and fantasies, rather than historical researches. Also the new design has applied unique styling for each character and enhances characters in those soap operas. This study focuses on combat uniforms of main male characters, but it can be suggestible that following researches will study in a variety of costume design stylings and characters in future historical soap operas.

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

• Journal of the Korean Magnetics Society
• /
• v.24 no.2
• /
• pp.66-69
• /
• 2014

The spreading tube of X-ray cathode tube displayed with an electromagnetic finite element method was designed. To analyze a feature design and the concrete coordinate performance of soft X-ray tube modeling, the orbit of electron beam was simulated by OPERA-3D SW program. The fixed conditions were the applied voltage, the temperature, the work function of thermal electron between cathode and anode of tungsten. Through the analysis of distribution of electron beam and the variation of dividing region, the design of soft X-ray spreading tube equipped with two cross filaments was optimized.

• Proceedings of the Korean Institute of Building Construction Conference
• /
• 2021.05a
• /
• pp.187-188
• /
• 2021

In the case of the Busan North Port, where the Busan Opera House is located, it is an environment exposed to various external deterioration factors such as frequent strong winds, seawater and salty winds, and an exterior material using UHPC (Ultra High Performance Concrete), a highly durable exterior material as a solution to this. Has been adopted. in this study, an economical production and construction direction was reviewed by applying UHPC to the exterior panels of atypical buildings that cannot cope with GFRC, metal, and glass, which are the main exterior finishing materials applied so far. When steel fibers are used, structural performance may be better than organic fibers, but due to environmental factors in Busan, corrosion due to exposure to steel fibers or problems with safety management after construction and completion may occur. Therefore, the site used the newly developed SACF fiber. Facade design of atypical buildings, which will increase in the future, is an important part, and the scope of use of UHPC panels is expected to increase in the future as design trends and demand for high durability increase.

• Progress in Superconductivity and Cryogenics
• /
• v.18 no.4
• /
• pp.40-43
• /
• 2016

Beam trajectory is needed to be controlled in heavy ion accelerator system. Quadruple magnets are widely used in heavy ion accelerator for focusing the transporting particles. A quadruple triplet system which consists of three consecutive quadrupoles, Q1, Q2 and Q3, is used to control beam trajectory at a focused position. Q1 and Q3 have symmetry with respect to Q2. The beam trajectory in magnet system is affected by higher order fields existed in real fields. For quadrupoles, the representation simulation of beam trajectory was carried out to study the beam trajectory and to estimate an effect of higher order field in triplet system. SCALA program was used to simulate the beam trajectory in $Opera^{TM}$. SCALA can analyze a large number of beam trajectories at the same time by adjusting the size of finite element of the emitter. With $Opera^{TM}$ and $Matlab^{TM}$ programs, the position of focused beam spot in quadruple triplet system can be increased or decreased using evolution strategy (ES) method, therefore the length of triplet system can be controlled. Finally, the quadruple triplet system with the appropriate length and expected beam spot range was suggested in this paper.

• Journal of Fashion Business
• /
• v.4 no.2
• /
• pp.127-140
• /
• 2000

The purpose of this study was to research and design stage costumes of Whangjinie focusing on inner image of Whangjinie, present stage costumes of new image. Four steps were taken in order to achieve this purpose. The first step was to investigate the old documents and prior research about literature world of Whangjinie. The second step was to analyze stage costumes of Whangjinie which were worn in opera, movie. The third step was to design and make the stage costumes according to new images Whangjinie which were extracted from above two research results. The new images of Whangjinie are as follows 1. Whangjinie as a kisaeng(professional entertainer) She thirsted for new, materialistic love though she failed in love everytime. 2. Whangjinie as a woman. She had a hard time by feeling an irresistible yearning for lover 3. Whangjinie as a poet. She expressed as a poetry her vanity and loneliness of life. Using above three images, this study designed four new stage costumes of Whangjinie and two designs of them were made really. But this study didn't present historic costume of her age but expressed modern mood in color and form.

• (The) Research of the performance art and culture
• /
• no.33
• /
• pp.59-95
• /
• 2016

The purpose of this study was to examine the text and musical characteristic of , a changgeuk (a Korean traditional opera), by the National Theater of Korea, which was performed overseas with the title of and recognized its artistic values home and abroad alike, focusing on the process of its rebirth from a lost pansori. A changgeuk was dramatized from a lost pansori into a Korean traditional opera. In the process of rebirth of , the content of latter half, which is the performance of a funeral service for the deceased Byeongangsoe, was deleted, and the contents of Ongnyeo's fight against jangseungs in order to take back Byeongangsoe was newly inserted, thus creating textual changes. In addition, as the title presents, Ongnyeo is no longer a conventional lewd woman, but a subjective and independent female who is fighting against fate, different from its original perspective in which the leading character is Byeongangsoe. All the sounds of a changgeuk were made by the creative technique of traditional Korean songs through various attempts, such as inserting chords between performers in order to present most appropriate songs for the opera, namely proper sounds for the hidden side of the opera. In addition, according to the change of mind of performers or characters, the tone and vocal sound of the song were different. In particular, a changgeuk attempted a variety of techniques in the accompaniment of music, and used many sound buks or diverse genres such as popular music, waltz, classic and folk songs of every province, thus presenting challenging attempts. These attempts made the opera more abundant and helped it to be expressed realistically and dramatically. As above, the contents of a changgeuk were borrowed from classical narrations, but its musical aspects got off the technique of traditional changgeuk, thus attempting various changes and techniques. In this vein, it presented a novel modality of changgeuk equiping with the characteristic of 'reviewing the old and learning the new,' thus proposing the directivity and possibility of changgeuk in the present society.

• (The) Research of the performance art and culture
• /
• no.32
• /
• pp.489-524
• /
• 2016

This study examines the birth of a genre, the $Sekky{\bar{o}}bushi$ Misemono Opera, focusing on how it accepted and modernized Katarimono $Sekky{\bar{o}}bushi$. Unlike earlier studies, it argues that Terayama was clearly different from other first-generation Angura artists, in that he rebirthed the medieval story $Sekky{\bar{o}}bushi$ as a modern Misemono Opera. Shintokumaru (1978) was directed by Terayama $Sh{\bar{u}}ji$, a member of the first generation of Japan's 1960s Angura Theatre Movement. It takes as its subject the Katarimono $Sekky{\bar{o}}bushi$ Shintokumaru, a story set to music that can be considered an example of the modern heritage of East Asian storytelling. $Sekky{\bar{o}}$ Shintokumaru is set in Tennoji, Japan. The title character Shintoku develops leprosy as a result of his stepmother's curse and is saved through his fiancee Otohime's devoted love and the spiritual power of the Bodhisattva Avalokitesvara. In this work, Terayama combined the narrative style of $Sekky{\bar{o}}bushi$ with J.A. Caesar's shamanistic rock music and gave it the subtitle 'Misemono Opera by $Sekky{\bar{o}}bushi$'. He transforms its underlying theme, the principle of goddesses and their offspring in a medieval religious world and the modori (return) instinct, into a world of mother-son-incest. Also, the pedestrian revenge scene from $Sekky{\bar{o}}bushi$ is altered to represent Shintokumaru as a drag queen, wearing his stepmother's clothes and mask, and he unites sexually with Sensaku, his stepbrother, and ends up killing him. The play follows the cause and effect structure of $Sekky{\bar{o}}bushi$. The appearance of katarite, a storyteller, propelling the narrative throughout and Dr. Yanagida Kunio is significant as an example of the modern use of self-introduction as a narrative device and chorus. Terayama $Sh{\bar{u}}ji^{\prime}s$ memories of desperate childhood, especially the absence of his father and the Aomori air raids, are depicted and deepened in structure. However, seventeen years after Terayama's death, the version of the play directed by Ninagawa Yukio-based on a revised edition by Kishida Rio, who had been Terayama's writing partner since the play's premier-is the today the better-known version. All the theatrical elements implied by Terayama's subtitle were removed, and as a result, the Rio production misses the essence of the diverse experimental theatre of Terayama's theatre company, $Tenj{\bar{o}}$ Sajiki. Shintokumaru has the narrative structure characteristic of aphorism. That is, each part of the story can stand alone, but it is possible to combine all the parts organically.