• Korean Institute of Interior Design Journal
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• no.27
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• pp.104-110
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• 2001

This study examines the space composition and character of German Modern Theater barre on the theory of typology and interpreter in the european traditional classic theater. Contemporary multi purpose theater and public space is considered as a symbolic representation of the classic theater's organization. In the historical theory, modern theater was a common tool and best systeme in reflecting people's lives. This role of greece-roman theater as life cycle and new style of theater permanent design has get its value with the population increase and the urban centralization of the city and urban common sense. This study attempts to reevaluate the need of space typology in modern society through a critical review of theater and its use as a open space design. Content analysis was used to discuss the topics of this study including the historical background of the theater, the relationship between amphitheater and modern theater design, and the role of scenery, auditorium and its impact on urban environment. The scope of the study is limited to the comparison of classic theater and german modern theater space use program from the space critic and sociologist. Today the concept of theatrical space is altered with the typology of classic and interpreter space. This study provides insights for the future implications of theatrical space in developing public space for its a new definition as cultural representation.

• Korean Institute of Interior Design Journal
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• no.29
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• pp.51-57
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• 2001

This study examines the space composition and character of 16th Renaissance Theater base on the theory of typology and interpreter in the european traditional classic theater. Baroque theater and early modern theater is considered as a symbolic representation of the renaissance theater's organization. In the historical theory, theater Teatro Olimpico and Teatro Farnese was a common tool and best systeme in reflecting renaissance type and perspective system. This role of type as life cycle and new style of theater permanent design has get its value with the population increase. This study attempts to revaluate the need of space typology in modern society through a critical review of theater and its use as a visual space. Content analysis was used to discuss the topics of this study including the historical background of the theater, the relationship between amphitheater and modern theater design, and the role of scenery, auditorium and its impact on Proscenium scenery. The scope of the study is limited to the comparison of 16th european theater and contemporary theater space use program from the space critic and sociologist. Today the concept of theatrical space is altered with the typology of classic and interpreter space. This study provides insights for the future implications of theatrical space in developing space for its a new definition as cultural representation.

• Korean Institute of Interior Design Journal
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• no.26
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• pp.35-41
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• 2001

This study examines the space composition and character of Baroque Theater base on the theory of drama and play in the european traditional theater. Contemporary multi purpose theater and public space is considered as a symbolic representation of the baroque theater's organization. In the historical theory, baroque theater was a common tool and best systeme in reflecting people's lives. The role of theater as mass culture and new style of theater permanent design had get its value with the population increase and the urban centralization of the city and urban common sense. This study attempts to reevaluate the need of public space in modern society through a critical review of theater and its use as a open space design. Content analysis was used to discuss the topics of this study including the historical background of the theater, the relationship between renaissance culture and modern theater design, and the role of scenery, auditorium and its impact on urban environment. The scope of the study is limited to the comparison of baroque theater and space use program from the space critic and sociologist. Today the concept of theatrical space is altered with the advent of non-objects and multi media space. This study provides insights for the future implications of theatrical space in developing public space for its a new definition as cultural representation.

• Korean Institute of Interior Design Journal
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• no.25
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• pp.111-118
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• 2000

This study examines the space composition and character of Elizabethan Theater base on the theory of drama and Shakespeares play in the english traditional theater. Contemporary multi purpose theater and public space is considered as a symbolic representation of the Elizabethan theaters organization and renaissance culture. In the historical theory, the Shakespeares theater was a common tool and best systeme in reflecting peoples lives. This role of theater as mass culture and new style of theater permanent design has get its value with the population increase and the urban centralization of the city and urban common sense. This study attempts to reevaluate the need of public space in modern society through a critical review of theater and its use as a open space design. Content analysis was used to discuss the topics of this study including the historical background of the theater, the relationship between Greek culture and modern design, and the role of scenery, auditorium and its impact on urban environment. The scope of the study is limited to the comparison of Elizabethan theater and space use program from the space critic and sociologist. Today the concept of theatrical space is altered with the advent of non-objects and multi media space. This study provides insights for the future implications of theatrical space in developing public space for its a new definition as cultural representation.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.159-188
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• 2014

Under the influence of postmodernism, modern writing tends to refuse an immediate conveyance of messages achieved by linear, unified writing. Such writing does not attempt any social participation and has no leading ethics, offering diverse perspectives. It simply relies on material property ignoring the 'here and now'. This discussion depends on the sensuous immediacy of works that are pure and uninterpretable, causing the "death of author" phenomena. Although the time was late, since the 1990s, discussion and work on deconstructive theater has been executed in the Korean theater world. This deconstructive work was achieved when lineal narratives were shattered through the shocking insertion of fragmentary episodes and imagery. Moreover, such plays were shocking presentations of severance in conversation; lack of communication; loss of pride and love; and a world devastated by violence and madness. In the 2000s, such a movement helped form a new paradigm in the theater through reinterpretation and parody of traditional dramas, while drawing general attention to postmodern theater. However, as the problems of postmodern theater are perceived through study, the limit of plays with a postmodern tendency is pointed out: such plays merely display 'deconstruction'. This thesis will examine reflective thought on postmodern theater seeking "deconstruction without alternatives" and the aesthetic concept of "le politique" by Jacques Ranciere. It will also look through the overlap of images as interval-estrangement, "lettre morte", and simulacre representing mise-en-scene aesthetics weaving "political writing". This study is meaningful in that it tries to extend the new aesthetic horizon of Korean theater, examining in 2009 and by Koh Sun-Woong in 2011, directed by Park Chung-Hee in 2010 and directed by Park Keun-Hyung in 2009.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.157-164
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• 2019

If a drama play is interested in recreating the play text on stage, the post-drama play aims at a drama that has been liberated from the play text. In this process, the boundaries created by drama theater are dismantled. Actors and audiences, fiction and reality, theater and non-theater, works and events, language and non-language are the names of typical boundaries. The demolition of these boundaries is an opportunity to restore the festival character of ancient Greek theater, which was forgotten by drama theater. This has led to the dismantling of language-centric and play-centricism, which has dominated the play since Aristotle, and has led to a new play. If language-centered, play-centricism has brought about the crisis of drama, the post-dramatic play dismisses them and finds ways to communicate with the audience as new cultural content. The method is found above all in the restoration of dramaturgy. This is because the post-drama plays are more dependent on theatricality than literature. The demilitarized nature of post-dramatic play with enhanced theatricality will be a stepping stone to popularization, and this shows the possibility of post-dramatic play as cultural contents.

• Proceedings of the Korea Society of Design Studies Conference
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• 2002.11b
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• pp.78-79
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• 2002

• Cross-Cultural Studies
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• v.33
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• pp.95-120
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• 2013

This study is about small theaters in Paris which produced the theater of the avant-garde(or theatre of the absurd) in the 50s. Paris was at the center of astonishing passion by small theaters in terms of spectacle. Small theaters actively embraced young actors/actresses, theater troupe and playwrights who created a new way to express their plays. They were mostly obscure but showed talent and genius. So playwrights came from abroad such as E. Ionesco, S. Beckett, A. Adamov and others were able to create a new type of comedy and experience theatrical realization. On the other hand, a great many drama creators such as R. Blin, N. Bataille, J.-M. Serreau, J. $No{\ddot{e}}l$ and others appeared. We focused on studying about life of small theaters in Paris as mentioned earlier. The space of representation were limited. They were mostly about ridiculing of dramaturgy of comedy and theatrical realization. The substandard situations and conditions of small theaters fell far short of advantages of spectacle. Some of the theaters - Babylone, Noctambules, Nouveau Lancry, Quartier-latin - have not been able to survive up to this day. Other Theaters - Huchette and Poche-Montparnasse - have been able to last by performing creative activities. The theaters of the avant-garde are historic places of Drama Art. It is quite astonishing that some of the monuments did not last any longer. These were the places where La Cantatrice chauve by Ionesco and En attendant Godot by Beckett were premiered. When will they be restored to their original state? Meanwhile, the theater of Huchette have performed the comedies of Ionesco for last 60 years without a break. It becomes the museum of theater of the absurd that is the cradle of modern play. In conclusion, a great many play creators like playwrights, directors and set designers saw the light of day because of small theaters when there were not enough support fund. Their passion and curiosity still make us look forward to emerging of new drama.

• Journal of the Korean Institute of Landscape Architecture
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• v.30 no.4
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• pp.74-81
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• 2002

Ihis landscape design was proposed for the Remodeling for the National Theater of Korea Competition. Today, the National Theater of Korea, located in Jangchoongfong, Joong-gu, Seoul, asks plans for renovation. The landscape design for the remodeling of the theater is conducted as part of comprehensive programs for its renovation. The Government sought design proposals through a design competition in April, 2002. The authors proposed a landscape design for remodeling the National Theater of Korea and won first place in the competition. The landscape design covers the following a survey of the present status, a site analysis, a schematic design, and design, development. In the authors'design, heavens, humans, earth and nature are symbolically expressed within the site. The outdoor spaces of the National Theater of Korea are organically composed of the following low spaces : 1) a field of creation; 2) a field of recreation; 3) a field of meeting; and 4) a field of contemplation. The field of creation consists of a main entrance, spaces for public performance and plays, spaces with symbolic water features, and resting areas. The field of recreation is composed of various exhibition spaces. The field of meeting consists of traditional Korean-style gardens and an outdoor cafeteria. The field of contemplation features lawns, grasses and trees, and provides an area for pedestrian strolling. The outdoor spaces of the National Theater of Korea would produce an atmosphere suited to a cultural and artistic place. In the spaces, people would perceive a unique sense of place through various types of fountains, pergolas, columns, walls, light poles and bollards. An example of the true meaning of a cultural space and a resting place is provided in these spaces. The renovated National Theater of Korea would be a new type of theater with regional context, cultural meaning, spatial identity, various amenities with symbolic images, function and beauty.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.421-446
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• 2012

The purpose of this paper is to shed light onto the historical significance and limitations of the Tsukiji Little Theater's modern performances. The Tsukiji Little Theater holds a position of great importance to the history of both Japanese and Korean modern theater. Some, however, are under the completely opposite impression. There are also mixed opinions about whether the Tsukiji Little Theater is a "model example" of the modern theatrical movement or a "bad example". Based on this controversy, we look into the definitive characteristics of the Tsukiji Little Theater based mostly on "the controversy over translated foreign plays", "the controversy of foreign plays versus original plays", "the value of kabuki" and "Shinpa as a rival". This paper looked into the differences in controversy over translated foreign plays in the Tsukiji Little Theater and the controversy in existing translated foreign plays. It mostly looks at the "casuistry of foreign plays" and the "cultural engineering theory of foreign plays"to get a grasp on the controversy surrounding existing translated foreign plays. Meanwhile, the "internally critical meaning" towards the original plays of renowned writers was strong in the controversy of foreign plays in the Tsukiji Little Theater. Kaoru Osanai defined the 1920s as a dark period, and persisted that because of the activity of the Shingeki movement, foreign plays were needed instead of low-level original plays. This study examines the characteristics of original plays and foreign plays publicly performed at the Tsukiji Little Theater to analyze the "controversy of translated foreign plays versus original plays". The Tsukiji Little Theater mostly put on shows with a strong sense of resistance or that defied the old times. This caused there to be a lot of emphasis put on the rebellious mindset towards old conventions and ideologies for most of the plays, both foreign and original, and the problem arises that little mind was paid to the integrity or beauty of the works. In looking at the "value of kabuki", this paper looked into Kaoru Osanai, who was deeply involved in kabuki actors. He evaluated traditional Japanese arts highly not because of the literary value of their scripts, but because he recognized the value of how they were performed. In order to create a new spectacle, music, dance and mime was taken in from countries around the world, and kabuki was regarded highly as a means of expression on stage. Finally, we also examine the recognized reasons for treating Shinpa as a rival. There is a relationship between these reasons and a complex about the audiences they drew. The Shinpa performances always had many spectators and were successful, but those at the Tsukiji Little Theater were so unpopular with the public that it was hard for them to financially run their theater group. The empty seats in their theater constantly made the modern intellectuals in the Shingeki movement feel inferior.