• The Journal of the Korea Contents Association
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• v.22 no.9
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• pp.156-168
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• 2022

This study was conducted to investigate the staging principle, the staging work and the trial performance of Shingeuk troupe Geukyesulyeonguhoe during the period of coterie system, focusing on Gogol work·Ham Daehoon translation·Hong Haeseong directing's (5Act). As a result, the first trial performance was based on a faithful full-scale description rather than an interpretive directing of play. It was a performance that focused on copying and implanting the external form of the performance stage of Shingeki troupe Tsukiji Little Theater. The general review of the time was summarized to the point that it was a relatively successful performance that exceeded expectations as a trial demonstration of amateur actors. However, in terms of the content of play and the form of performance, reservations and lack of contemporary(modern) interpretation caused the problem that the general audience was alienated. Therefore, it was difficult to achieve the effect of reflecting the reality of Chosun through , as Geukyesulyeonguhoe intended.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.49-71
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• 2013

Melodrama emerged as a form of the moral in the early modern age. As an approach 'the moral' not only means that rewarding virtue and punishing vice, but also refer to a principle of spiritual life and a way of life. -Melodrama theatricalizes a new vision of human life and society through a new type of the virtuous protagonist and sentiment/-ality. -This allows melodrama to be a dominant cultural form in this modern age, beyond the borders of the theater, mass-media, and literature. Virtue and sentiment/-ality are the core elements of melodrama, which differentiate it from tragedy and comedy especially in the structure and effect of the drama. Actually virtue and sentiment/-ality have been a main target of criticism. Virtue has been regarded as a trite quality of the stereotypical protagonist, and sentiment/-ality as a banal emotion which paralyzes an audience's recognition of reality. -However, this thesis regards both virtue and sentiment/-ality as vehicles for showing and sharing the morals of the modern age. First, the virtues of the protagonist included the general and universal ones of the bourgeois -at that times, the bourgeois represented themselves as a human being- such as the responsibility and obedience of a father, a mother, a wife, a husband, a daughter and a son. They also included the professional ethics such as courage, honesty, and justice and so on. The fall or salvation of the protagonist is largely determined by his/her private individual virtue. Second, sentiment/ality is a theatrical device that makes the audience internalize the protagonist's virtue. The protagonist expresses his/her universal virtue sentimentally, and the audience also expresses their virtue by sympathizing with the protagonist's virtue sentimentally. However, the melodramatic protagonist as an individual, is not connected with society, but remains isolated. As a result, s/he has no influence on the society, where s/he can only ends her/his play alone with a happy-ending. S/he is happy alone, or at best happy with his/her own family. On the contrary to this, tragic protagonist usually fixes social disorder through his/her fall. In that sense, we can say that melodrama presents only the half of the human life.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.227-237
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• 2020

In the 30th edition of , Chunhyang is conventionally presented as a woman who tries to protect her chastity and it eventually bears the fruits of her love. On the other hand in , Chunhyang is reinterpreted as a woman who strives to protect feminist self-consciousness and beliefs, even in unreasonable social situations. By comparing the two different works, we can see differences in the behavior of the characters in how to overcome various obstacles, such as irregularity, gender discrimination, and identity conflict. By reinterpreting the emotions of the characters in the classic novel into the emotions of the modern characters, we can see the how the characters grow when trying to overcome the situation and find a solution, even though there is no change yet. This can be seen as the emotions of the characters become different as time goes by. As the times go by, the world's values and inclinations also change, and the irrationalities of the world will also go in various directions. Through the fusion of culture into history, even though it's irrational but we become familiar with it and will clearly understand the absurdities, and we can look forward to changes in the process.

• The Journal of the Convergence on Culture Technology
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• v.4 no.3
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• pp.113-125
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• 2018

In recent years, new media art is developing to play its roles as a means of remediation to overturn, reuse, and alter the old technologies rather than technology-dependent art to accept new technologies and use them as artistic tools. Here, the concept of new should mean looking at the old technologies in an indirect way and finding new meanings in them rather than presenting new technologies. The starting point of this study was the concept of spatialization in which the concept of new media art would externalize games from inside to outside the screen in gamification-applied spaces. Participatory new media art adds a platform for viewer's participation and utilizes the entire space of the exhibition hall instead of allowing for simple viewing at the exhibition hall. The study focused on the changes and phenomena in the process of games belonging to the artistic space through the interactivity of gamification. Here, the premise was that gamification meant the "spatialization of games." The study examined several cases of games being altered in the spatialization process to figure out interactivity for viewers and developmental directions for interface design at a gallery.

• Cross-Cultural Studies
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• v.38
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• pp.115-144
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• 2015

The purpose of this study is to look into the support activities of the 17th century spanish plays which had been taken in various paths in terms of responses of the then-public who had been enthusiastic about great plays and artworks. Such a phenomenon clearly appeared in the open-air theater 'corral' where 'Teatro nacional' was performed at that time. Therefore, this study tries to investigate the functional relation between the public's responses and the prosperity of then-plays from the concrete standpoint of Lope's public-oriented plays. Although Lope's plays basically include system-protection ideology, they are thoroughly based on the public's support and popularity. In short, at that time, Lope's dramatic reform and entailing remarkable hit and success were made possible through thorough compliance with the public's preference and thereby the public's absolute support and affection. The tendency of his public-oriented plays appears in two aspects. One is the common people persecuted and punishment of a wicked man of power. The typical plays in point are Lope's Perib??ez y el comendador de Oca?a and El mejor alcalde, el rey. Through the plays, the playwright Lope not only implemented praise of absolute monarch very effectively, but soothed the wounded heart of the common people who had suffered pains due to their unfair and lowly social status. In this way, his plays might give senses of reliefs and satisfaction to most viewers who identified with the common people in the plays. The other one is the decisive raise of status of an exemplary commoner, the subject matter which had been used by Lope as one of useful means to show the public-oriented tendency of his plays. The cases in point are Los Tellos de Meneses and its succeeding work Valor, fortuna y lealtad. The two-part work of Lope is about the hard journey, ups and downs, and ascent to the nobility of Tello, an exemplary and rich farmer, and hits young son Tello. Through the two-part play, Lope demonstrated how an exemplary and good-mannered commoner rose to the nobility and thereby gave vicarious satisfaction to the then-public and received a lot of praise from them. As mentioned earlier, through his public-oriented plays, Lope not only satisfied the public's desires and achieved his realistic goal of big success. Not all Lope's plays are public-oriented. Nevertheless, the popular success of 'Teatro nacional' made by Lope and his followers is based on the public's preference and the plays' dramatic responses to their desires, and the strategic elaboration to comfort the public suffering lot of pains in daily life.

• The Journal of the Korea Contents Association
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• v.19 no.5
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• pp.163-177
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• 2019

This study is concerned with "fiction" as a new form of writing over the limits of the post-modernist theater/arts. Fiction is not something illusory that demands the audience's empathy but something that unveils form's disinterest in content. Thus, in this paper, I examine a fiction as the opposition of any representational norm and words' old mimesis. Rebutting the crisis of post-modern art and the end of images, philosopher Jacque $Ranci{\grave{e}}re$ mentions the possibility of appropriating similarity in an imitative way by twisting Platonic mimesis. The image of this similarity wanders alongside the loss of signification, unmasking the form's indifference to content. These wandering words represent their own truth "in a way fossils or grooved stones encapsulate histories" as hieroglyphics. This "fiction" as an alternative of post-modernist plays is not any confrontation of reality but the "movement of thinking" that allows the human spirit to play in a way of shaping "some substantiality." In this sense, I examines works by two French writers, $Jo{\ddot{e}}l$ Pommerat (1963~) and Jean-Claude Grumberg (1939~ ) who have carried out their writing practices of appropriating similarity that dissolves any simple "immediate reflection" for non-intermediate relations between the producing and the produced. Their writing is a cross of literary creation and "le politique" as a new aesthetic practice of writing and reveals the movement of thinking, departing from the preexisting concept of fiction.

• Journal of Korea Entertainment Industry Association
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• v.15 no.2
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• pp.83-97
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• 2021

This study started with curiosity about theatre without its three elements and would reveal its possibility through performance and experiment and promote the expansion of each element and the development of a new form at the same time. After the occurrence of COVID-19, theatre has come up against a big limitation of contact-free, untact communication due to its inherent characteristic of 'presence.' For the survival of theatre in the rapidly changing world, it is desperately necessary to check the existing performance method and to be concerned about its development for the future. Thus, this researcher started from a more fundamental exploration of theatre focused on an "experiment of theatre without its three elements" and would sort out the three elements (actors, audience, and a play) from a macroscopic perspective. Also, the researcher would investigate the impacts of these elements on the performance and the possibility of theatre even after removing the elements through performance and experiment. This study consists of one performance and two experiments and is based on the interviews and progress details conducted by the planner and experimenter and the survey with the experiment participants. The significance of this study is its reflection on the essence of the genre, theatre, and the roles of all elements constituting that, not from a narrow perspective that would simply define the concepts of the elements but through the expansion and change of them. Furthermore, hopefully, it will be connected to the discovery of a new theatrical format that has not been considered through its combination with another genre.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.373-387
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• 2020

This study examined the concept and essence of archetype theories of Johann Wolfgang von Goethe, Rudolf Steiner and Carl Gustav Jung, which theatrically influenced Michael Chekhov. It analyzed how archetype theories were applied in Chekhov's Psychological Gesture and tried to fundamentally understand Chekhov's Psychological Gesture that embraced archetype theories. The concept of archetype repeatedly appears in Chekhov's Psychological Gesture. Chekhov stated that archetype exists in the inner psychology or instinct of the actors and he defined the Psychological Gesture as an archetypal gesture. While exploring references regarding archetype in Chekhov's Psychological Gesture, this study found that it is closely related to archetype theories. Therefore this study thoroughly analyzed Goethe's archetype theory(archetypal plant), Steiner's archetype theory(4 temperament archetypes, 7 human's soul archetypes), Jung's archetype theory(collective unconscious and 4 archetypes, 12 personality archetypes) and it confirmed that archetype theories had a significant influence on Chekhov's Archetype Theory and Psychological Gesture. Goethe and Steiner's archetype theories, Eurythmy are applied to theater education and actor's acting. Likewise, Jung's archetype theory is also adopted theatrical studies and theatrical psychotherapy. The author believes that Chekhov's Archetype Theory and Psychological Gesture influenced by archetype theories will significantly help an actor analyze characters in the play and portray them in creative acting.

• Journal of Korea Entertainment Industry Association
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• v.13 no.1
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• pp.69-79
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• 2019

The purpose of this study is to analyze how Andong Joongang Cinema (hereinafter referred to as "The Cinema"), the only art cinema in Gyeongsangbuk-do Province, is perceived by local people as a local cultural resource. For this, an analysis framework was set for analyzing local people's perception of The Cinema as a local cultural resource, by analyzing the functions of local cultural resources and the function of The Cinema and examining the correlation between the two sectors, on the basis of precedent studies on local cultural resources and related papers on art theaters and The Cinema. Based on the proposed analysis framework, the local people's perceptions of The Cinema as a local cultural resource were summarized into four divisions: the perception of the enjoyment of culture & art, the perception of historicity, the perception of a tourist attraction, and the perception of community formation. As a result, it is judged that The Cinema has the identity, the traditionality and the community spirit as the three functions of which a local cultural resource has, and thus, it is proved that The Cinema functions as a local cultural resource. Therefore, local cultural resources have been performing their functions encompassing its scope with the region's history and surrounding environment, not standing alone. The Cinema also has been functioning as a space for the enjoyment of culture and art, a tourist attraction, and a cultural space for communicating with the public, keeping its historicity of the region. It is expected that there will be specific follow-up studies so that The Cinema can consistently play its role as a local cultural resource.

• (The) Research of the performance art and culture
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• no.39
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• pp.223-277
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• 2019

Based on the text reference from the Variety Theatre compiled and performed by the Jiaofang of the Ming Dynasty Palace, the characteristics of Zhongkui performance in the New Year Ceremony was analyzed focusing on the differentiation and diachronic change in aspect between court dance and civilian. In China's folk beliefs, 'Zhongkui' is regarded as a representative spirit of fighting against evil spirits. Relevant rituals and performing arts have been held mainly on New Year's Eve or the Dragon Boat Festival. Although extensive research has been conducted in various fields, the situation of Zhongkui performance was largely unnoticed, only generally addressed in China, even with the given fact that the Ming Dynasty's text reference of miscellaneous court dance was exclusively retained, Therefore, the analysis intends to propose Zhongkui performances of Calendaric Rituals in the aspect of its elements and differentiate the play handed down among people as a specific example. Through the text analysis of miscellaneous court dance, 'Imperial examination' and religious belief was regulated usuriously by a so-called edification expressed as imperial reign ideology extracted to an implementation situation, revealing that this court dance was characterized by a variety of performances including the 'Zhongkui'. The results of the following study intends to provide a positive foundation for not only the field of Chinese studies but also the field of Korean literature, theatre, dance, folklore, religion, anthropology and art.