• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.307-322
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• 2020

The acting of physical action of the director Kang Yang Won's plays is mostly simple and repetitive. This acting induces the audience to sensuous perception and certain corporal emotions. In addition to semiotic meaning of dialogue a stimulus is given directly to sense of the audience. Therefore, the audience participate in creating a performative space with assistance of atmosphere. So, the feedback-loop of autopoiesis is made and the emergence of meaning is experienced due to felt perception. This emergent meaning springs unexpectedly by imagination, remembrance, and association etc. and is not produced on purpose. In addition, the audience participates in the performance together by the intersection of the perception for representation and perception for presence, and is especially affected by the presence of acting of physical action. In this paper, the study of four major performances of the theatre troupe Dong performed since the 2010s confirmed not only the individuality of each performance, but also the commonality that encompasses the entire performances. This led to discovering the discrimination power of the aesthetics of theater of the director Kang Yang Won and the theatre troupe Dong.

• Journal of the Korean Society of Costume
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• v.58 no.7
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• pp.119-132
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• 2008

This study intended to develop and produce a modern form of fashion design for the Korean creative dance performance, 'Crazy Skirt Collage', which expressed conflict between internal ego and a persona in a woman. The qualitative method was used to analyze literature review, internet search and visual data of historically important cases related to the theme. Based on the analysis, the fashion design of the dance performanre by Hwang Hee-Yeon that was actually staged on Towol Theater, one of the Seoul Arts Center, was produced. The results wire as follows; First, the study confirmed a change of persona that revealed a female's animus strongly as it moved into the modern time. Second, the female's persona was expressed through long skirts, slips, dress shoes, handbags, military shoes, dresses with long zippers, trousers, wedding dresses and Korean full skirts during the performance, while the female's animus through male coats, panties, big bags and clock. In conclusion, it is necessary to study new expressive methods, that is, dance clothes using advanced equipment such as lights, videos or other variety of materials. It is also important to understand aesthetics of modern women's ordinary lives and to adapt ordinary clothes to dance clothes in various methods in order to express their modern lives appropriately through Korean creative dance.

• (The) Research of the performance art and culture
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• no.19
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• pp.281-315
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• 2009

Korean traditional music has been a process art which has been changed and re-created by musicians to mirror the musical aesthetics of contemporary people. Form court music, which has tried to keep the "authentic" form as much as possible, to folk music, which is closely associated to the people's life style, traditional music has expressed the life of the Korean people. From the early 20th century, traditional music faced a totally new music culture due to the Japanese annexation and rapid westernization. A new music network was established by modern theater and broadcast system. Many gayageum (12-stringed zither) masters were able to develop their own music in this new music culture. Female musicians came to exist because of a new music education system, called gwonbeon (school for female entertainers). Due to the rapid westernization, traditional music was becoming 'extinct'. The government's new system of Intangible Cultural Heritage tried to preserve traditional culture. Traditional music came to revive but became fossilized in order to preserve the 'archetype'. The so-called Living Human Treasures took power and became a social problem. The modern school education system was one of major factors for promotion of traditional music. However, it became one of main reasons for musicians to lose their musical creativity. Today, many performers and composers try to make a new composition and renovated musical instruments to suit the contemporary musical aesthetics.

• Journal of the Korean Society of Costume
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• v.65 no.5
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• pp.126-141
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• 2015

The purpose of this study is to examine the works of choreographer Philippe $Decoufl{\acute{e}}$ and the performance costumes designer Philippe Guillotel, and identify the intrinsic values shown in the formative characteristics in their works. And it proposes a vision and a direction for the development and performance of modern fashion phenomenon of media convergence performing arts complex. The results were as follows. First, the performance characteristics shown in Philippe $Decoufl{\acute{e}}$'s art pattern applies dynamic improvisation, decategorization reflected in the media interactivity, time and space of a variable scalability, complex artistic genres and transcends cultural boundaries. Second, the characteristics of the performance costume can be described as a co-existence between dynamics of aesthetic layers, 'Media body' represented by the interaction of the compounds with the technology, and integrated variable expandability. And aesthetic values inherent in the performance costumes are summarized as abstraction, playfulness, reproducibility, and theatricality. Modern fashion performance and limited production of the center 'costumes' in the fashion images can be used in diverse ways, and innovative marketing has gone through a change in image production. Metaphysical text of the advanced performance genre can be presented in a new perspective to fashion derivatives 'Media body'. And the aesthetics of popular culture kitsch, the grotesque, and surrealism in theater will produce creative stage direction.

• Journal of Digital Convergence
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• v.17 no.2
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• pp.363-371
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• 2019

The purpose of this study was to look at the grotesque characteristics of the preface to "Cromwell, 1827" by Victor Hugo and to identify the differences in the ancient Gris Tragedy. Also, Victor Hugo and Nietzsche were interested in the Middle Ages, and wanted to see if there were any differences. The main findings of the study are the grotesque phenomenon of Victor Hugo in the "Satirus" at Dionyson Theater in Nietzsche's Gris tragedy. When you classify them, first, the appearance of humans and animals mixed in. Second, Satyrus uses the mask as a grotesque material in a humorous and funny atmosphere. Although there were many ways to define grotesque aesthetics and philosophy, there was still a lack of research on grotesque. Future studies should be conducted in detail in social phenomena over time.

• The Journal of the Convergence on Culture Technology
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• v.10 no.2
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• pp.487-492
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• 2024

This study aims to organize the basic concepts for the technical development of holograms as a medium to go beyond the range of everyday and instrumental use to artistic and conceptual meanings, and to study various forms of expression that can be used as directing tools. As an example of the researcher's directing works and projects using the similar hologram expression form, which is called the Pepper's Ghost method or the floating hologram method as the current stage utilization technology, the technical limitations of the hologram depend on the goal of directing within the scope permitted under the theater of stage art. By analyzing the correlation between holography and stage elements and the timing and point of view to obtain emotional responses from the audience, and presenting stage alternatives, more active motivation is given to the stage expression of holograms leading to future technology development and a new field of future performing arts. I want to prepare the theoretical foundation of aesthetics.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.11
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• pp.6478-6483
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• 2014

Media facades project images on the external walls of a building as a screen. Such facades can recover the cultural emotions of users tired of a high level of market competition in urban spaces and develop into urban aesthetics and be reinterpreted as an image design as the city becomes a topic as well as the target projected. From a cultural perspective, the artistic possibility and strengthening of publicness of media facades are discussed. One of the considerations is that it should be the medium communicating with the building or surrounding of the projected target. Urban landscape media facades, such as 2014 Gwanghwamun media facade, 2014 Sejong Center for the Performing Arts media facade and 2013 Namsan media facade were compared and analyzed. As a result, four types of image design components could be derived such as motifs, concepts, stories and projection types. Media facade, which is establishing itself as a new technological genre beyond canvas and theater screens, should contain messages, themes and technological advances as a higher level of the urban symbolic art form in the future. This paper derived the components of image design through the comparative analysis of symbolic urban landscape media facade.

• (The) Research of the performance art and culture
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• no.22
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• pp.327-370
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• 2011

Shakespeare's text "Hamlet" was first introduced in Korea in the first part of 1920s by Hyeon Cheol via 『Gaebyeok』. Its performance of whole acts was realized in Kinema Theater in Daegu by the direction of Lee Hae-Rang (translated by Han Lo-Dan) in September, 1951, during the Korean War. Since then, a variety of performances were carried out by numberless performing artists and performing groups in the 1960s, 1970s, 1980s and 1990s. The purpose of this study was, among numberless performing artists and performances appeared in the history of performance of "Hamlet", to examine Lee Hae-rang's direction standpoint of "Hamlet", which has been one of the mainstays since the 1950s. For this, among many performances directed by Lee Hae-rang, the investigator referred to the performing scripts and performance criticisms for the opening performance of Drama Center in 1962 and the performances in HOAM Art Hall in 1985 and 1989, focusing on the text "Hamlet" performance in 1951. In the second chapter, the concept, standpoint and background of realism, the base of his theatrical activities in his lifetime, were examined. In the third chapter, before analyzing his direction standpoint for text "Hamlet", the traditional and modern concept of text was summarized and a variety of standpoints and viewpoints for the text were analyzed. And based on the above summary and analysis, his direction standpoint was analyzed and examined, thus presenting a clue for the discussion on the position of Shakespeare's text "Hamlet" directed by Lee Hae-rang in the Korean history of performance and its performance aesthetics.

• The Journal of the Convergence on Culture Technology
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• v.9 no.4
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• pp.431-436
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• 2023

The film Aftersun(2022) is Scottish director Charlotte Wells' feature debut and is one of the films that received the most attention in the international art film scene that year. The overall structure of the film is a look back at a certain summer vacation that Sophie, now an adult, went to Turkey with Calum, a 30-year-old 'young dad', whom she lived apart after divorcing her mother when she was 11 years old. In fact, it can be said to be a reconstruction of memory, and Aftersun not only describes the contents remembered, but also reveals the process of reconstructing memories, making the film a process of post-action memory work. In this process, Aftersun proves Lev Manovich's words that cinema is an indexic art. Going back and forth between home video and cinematic diegesis, After Sun unleashes a new imaginary temporality through a two-hour conversation, traces of indexical signs engraved on home video and present times. The film urges involuntary memories in the chaotic time to the present, and makes meaning through traces and signs of intense gestures in the dialogue between media and media, past and present. The We think about the meaning through the time when the story is stopped and the implications of the gestures.