• Journal of the Korean Society of Costume
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• v.51 no.4
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• pp.129-139
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• 2001

Picasso had deep concern at the designs of theatre costumes as well as art. The art of Picasso influenced deeply to the fashion designs in those days. In these study, to analyze the creative theatre costumes of Parade affected by Picasso's cubism, we investigate the documentary records, photos, and sketches of Picasso. The design of theatre costumes in Parade was able to be divided by two categories, general theatre costumes and experimental theatre costumes. The first characteristic of general theatre costumes is that the designs of theatre costumes in Parade were influence by the early stages of Picasso's art. The costumes of the Chinese Conjurer influenced by the Red Era of Plcasso's art and those of the Little American Girl and the Acrobats influenced by the Blue Era of Picasso art may belong to the category of general theatre costumes. The second characteristic of general theatre costumes is the fact that the images of heavenly bodies were used in the costume of the Chinese Conjure and the Acrobats. The characteristic of experimental theatre costumes is the fact that the cubism is introduced to the designs of theatre costumes in Parade. The experimental theatre costumes were presented in the costumes of the Three Managers which were newly created under the influence of Picasso's cubism.

• Cross-Cultural Studies
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• v.21
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• pp.53-86
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• 2010

This paper is focused on splitting of the first Soviet theatre, MKhAT and collapse of Soviet theatre. A close attention has been paid to Art Theatres's circumstances leading to splitting, critical conscience about division between ideal and real theatres and other concrete situation before the verge of collapse. Administrative reform of the Soviet theatre at the period of Perestroika and Glasnost', its results and conflicts, occurred in the process of transition into market system. These are considered under the premise of that the problems of MKhAT were not so different to the other soviet theatres at that time. As it is known that Moscow Art Theatre is a symbol of Russian theatre. And the status of MKhAT as a symbol of Russian theatre had formulated not only the well-known Stanislavsky' system and his legendary performance The Seagull, Three Sisters etc. It was made by party's effort to make MKhAT as the first Soviet theatre and by directors, artists and critics, they had believed and tried to protect idea of MKhAT as the 'battlements' of Soviet theatrical art. One of them is O. Yefremov, a former leader and artistic director from 1970 to 2000. Actually from the periods of Sovremennik Yefremov knew that does not exist the ideal MKhAT, excepting myths, legends and administrative attitudes. Nonetheless he chose the duty of MKhAT's artistic director to construct ideal MKhAT, theatre as the best moral institution, theatre as union based on common belief. It is same motive that he had led split of MKhAT. But split of theatre did not bring the expected results. After spliting MKhAT has become almost collapsed under collapse of USSR and subsequent turmoil at 1990's. And as soviet theatre disappeared into history, Russian theatre became lost its special significance, the super-theatre's idea.

• (The) Research of the performance art and culture
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• no.38
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• pp.5-31
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• 2019

This article aims to examine the concept and historical background of Applied Theatre and its major characteristics as a newly emerging theatrical practice in recent years. With these aims, the article chronicles the history of how Applied Theatre has developed and formed as an overarching umbrella term that encompasses different theatrical praxis. Given the ambiguity and confusion of this practice, the article argues the importance of recognizing the Applied Theatre's shifting paradigm of subject and object, a crucial element in understanding the practice. Further discussed is the exploration of 'community' in regards to comparing the similarities and differences among Applied Theatre, Community Theatre, and Community-based Performance. The article concludes that the essential comprehension of Applied Theatre's uniqueness comes from noticing and perceiving the paradigm shift that places participants and community as a subject of theatrical transaction rather than as an object, as traditional theatre has done so far.

• (The) Research of the performance art and culture
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• no.25
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• pp.5-30
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• 2012

I. Identity of Yeonsegeuk as total arts. The purpose of the thesis is to arrange the identy of Yeonsegeuk(Kino-Drama) which is theatre or film. The process of study is tried to discuss on the aethetic of Yeonsegeuk. II. Appearance of Yeonsegeuk and negative disputation of yeonsegeuk The first imported Yeonsegeuk from Japanese in Korea is made by the group of Mizuno Ganggetsu(水野觀月) on Oct. 16. 1915 at Pusan and also to run in Seoul at Hwanggeumgwan. The first of Korean Yeonsegeuk is by Kim, Dosan, a leader of Singeukjwa(theare group) on Oct. 27. 1919 at Danseongsa. Before the liberation of Korea from Japan all made korean Yeonsegeuk are 28 works. III. Dramatic form of Yeonsegeuk I study on the relation between Yeonsegeuik and Sinpageuik(new theatre of modern drama in 1920's). I find that Yeonsegeuik admitted the thechnics of the Sinpageuik and the contents. If We think that the theatre is synthetic art which genealize all arts, we can insist that the Yeonsegeuk is valued the total art as new performance to comply with film art to theatre. Conclusionly Yeonsegeuk is called 'Expanded Theatre' as the new performance which must be dicussed in the view of total art. VI. Discussion on the the aethetic of Yeonsegeuk When we compare the structure of film with the structure of theatre, we can't find a diffrent element between the structure of two art in art semiotic. But we find a fact that film art has special elements in mechanics character which are camera working and motage. These technics influence on the audience's mind. It is different point between Japan and Korean's Kino-drama and Germany's that is to admit the aethetic of total art or not. V. Yeonsegeuk as new performance During Korean modern times Kino-drama was first a kind of total art with stage and screen. But it is regretable that Kino-drama didn't have the background of theory which discourse on the comprehension of total art. As the result Kino-drama bring the confusion of argument that Kino-drama is total art or expanded theatre. This confusion will be disputed on film art as performing arts or future art as expanded film and total art.

• The Journal of the Korea Contents Association
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• v.19 no.5
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• pp.562-571
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• 2019

The expansion of the performing arts market to include new genres of art that combine art and cutting-edge media technology has surpassed the limitations of traditional theatre art elements such as stage, costumes, lighting, sound, and props, allowing free expression of space-time and visual art. It is growing into a wide area with unlimited potential in the performing arts sector. In response to these changes and the demands of the time, there is an increasing demand for multi-talents who can plan and produce arts and technology-converged contents that will contribute to the development of the performing arts industry. As a result, university departments related to theatre art across the country feel that it is urgent to develop curricula that will enhance students' competency by incorporating the latest media technologies such as virtual reality, holography, and interactive motion sensors into the existing performance art visualization process. In this study, the author will examine the process of developing courses in technology-incorporated theatre art (design) through case studies of media technology-converged performances from the past 10 years. Based on the traditional concept of theatre art, the attempt to fuse stage art with media technology will be a cornerstone of attempts to foster a group of talented artists who transcend the limits of creative visual expression and creative value.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.75-100
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• 2013

An on-going creative process was the major principle of Kantor's artistic endeavors. Kantor's emphasis on process grew out of his frustration with the experience of creation being isolated from the audience in the present time, during the moments of encounter. At the same time, however, Kantor was always aware of the fact that the first night of each and every performance that he made was the last point of his creative intervention. Despite being performed live in the present time, Kantor saw theatre essentially as an end product. This does not mean that Kantor abandoned the concept of on-going process, for process was for the artist a means to reject the idea of a finished work of art and to denounce the feeling of satisfaction derived from the traditional denouement in representational theatre. For him, theatre that dominated his time isolated the audience from the art work and the artist, and from this perspective his continual emphasis on process should be understood as an aesthetic principle in order to open up and expand the dimension of art into the realm of the spectator so that the experiences of both the artist and spectator may coexist. The heaviest barrier that separated the artist and his work from its audience was the creative structure that governed Western art. In theatre it was the dramatic structure that was the main object of his series of severe challenges. Not only did it fail to represent reality but it distorted reality, creating nothing but artificial illusion. Under this condition, all that was permitted to the audience was mirages. However, Kantor never completely discarded illusion from his theatre. The point for him was always to created a circumstance where the illusory reality of drama comes to exist within the dimensions of our reality. It was Kantor's belief that instead of a total denial of illusion, his theatre should strategically accommodate illusion which comes from reality. And, the aim of Kantor's theatrical experiments was to invite the audience into this ambience and transform the experience of his audience into a much more participatory one. This paper traces the ways in which Kantor transgressed the dominating conventions of representational, literary theatre, and how such attempts induced an alternative mode of spectatorship. The study will begin from an investigation into Kantor's attitude towards illusion and reality, and then move onto a closer inspection of how he spatially and dramaturgically materialized his concepts on stage, giving special focus on Wielopole, Wielopole.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.91-100
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• 2019

It is an undeniable that cultural landscape of Korea is centered in Seoul, where all the cultural powers are oriented. From this aspect, a municipal theatre of Daegu (Daegu Municipal Theatre), where is considered an area somewhat isolated from the perspective of culture, has managed to develop theoretical programs serving public purposes through efforts on the diversification of performance programs, development of creative plays, acceptance of open direction, classic, modern and experimental plays, foreign exchange, musicals and non-verbal, development of modern and post-modern history of the region, aggressive exploration of subjects, and characterization of the theater through citizen-participated programs and communication with citizens. With such efforts on diversification of public benefits and communality conforming to its purpose, it has been recognized for its contribution to the recovery of popularity of performance art and plays in Daegu. The Daegu Municipal Theatre, celebrating the 20th anniversary of establishment this year and having Choi Ju-Hwan as its fifth art director, has managed to conduct various experimental attempts to gain popularity and these include the exploration of the region and its historical figures, development and promotion of creative musicals, and promotion of communication between citizens and performance culture and of participation of audiences, in turn having a stabilized operation system. Such changes are seemed to be attributable to the maturity of performance production and roles of senior members. From this aspect, this study aims at investigating the changes in the Daegu Municipal Theatre and 'roles and popularity of national/public theatre companies.

• The Journal of Art Theory & Practice
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• no.5
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• pp.109-133
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• 2007

What a concept of theatricality in modern art became more controversial is through a review "art and object-hood" on Michael Fried's minimal art, as having been already known broadly. As he had been concerned, the art following the minimalism is accepting as the very important elements such as the introduction of temporality, the stage in the exhibition space, and the audience's positive participation, enough to be no exaggeration to say that it was involved in almost all the theatricality. Particularly even in the installation art and the environment art, which have substantially positioned since the 1970s, the space is staged, and the audience's participation is greatly highlighted due to the temporal character and the site-specific in works. In such way, the theatricality in art work is today regarded as one of the most important elements. In this context, it is thought to have significance to examine theatricality, which is shown in the works of Arte Povera artists, who had been active energetically between 1967-1971. That is because the name of this group itself is what was borrowed from "Poor Theatre" in Jerzy Grotowski, who is a play director and theorist coming from Poland, and because of having many common points in the aspect of content and form. It reveals that the art called Arte Povera is sharing many critical minds in the face of commanding the field called a play and other media. Grotowski's theatre theory is very close to the theory and substance in Arte Povera in a sense that liberates a play, which was locked in literature, above all, renews the relationship between stage and seat and between actor and audience, and pursues a human being's change in consciousness through this. That is because Arte Povera also emphasizes the communication with the audience through appealing to a human being's perception and through the direct and living method, not the objective art concept of centering on the work. In addition, the poor play or poor art all has tendency that denies a system, which relies upon economic and cultural system, and seeks for what is anti-cultural, elemental, and fundamental. It is very similar even in a sense that focuses on the exploration process itself rather than the result, excludes the transcendental concept, and attaches importance to empiricism. However, Arte Povera accepts contradictoriness and complexity, and suggests eclecticism and tolerance, thereby being basically the nomadic art and the art difficult to be captured constitutively. On the other hand, there is difference in a sense that the poor play is characterized by purity, asceticism, seriousness, and solemnity. If so, which significance does this theatricality, which was introduced to art, ultimately have? As all the arts desire to be revealed with invisible things beyond the visual thing, theatricality comes to play a very important role at this time. If all the artists and audiences today came to acquire actual or virtual freedom much more, that can be said to be a point attributable to that art relied upon diverse conditions in a play.

• Journal of the Korea Safety Management & Science
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• v.10 no.3
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• pp.35-41
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• 2008

It is a fact that domestic performance art has been sharply progressed but it is focused on only performance quality technique, not on safety of performers and the audience. It is a pity that people's effort to keep safe stage environment have not traced to innovative change, eventually leading to be forced to perform under hazardous condition. This study is to find out and identify that domestic regulation and accident cases are investigated and compared with cases of advanced countries, to verify that performer and the audience are main elements to develop performance art. And it is to show more effective safety measure after pointing out hazardous elements. Research change is limited to review only performance ones of all cultural facilities and to review accident cases from these places to show reasonable safety measures for stage facilities. Operation manager covers almost all of areas such as devices, management, despite a fact that they take charge of stage facilities, illumination, sounds, already. Some conclusions are as follows; 1) performance theatre-related regulations should be established again. domestic safety standards for performance theatre safety should be established. 2) characteristic and purpose of performance place should be clarified at the stage planning and design of them 3) operation expert performance place is required to be trained to cover emergency situation at any time.

• (The) Research of the performance art and culture
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• no.34
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• pp.43-71
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• 2017

Theatre for young people which have been barely survived after 1990's are attracting new attention because the systemic production of Theatre for young people by establishment of theatre for young people institute in national theatre company has affected and the influence of adolescent on society has been increasing. It brought the phenomenon that theatre for young people becomes young writers' first work. The national chaggeuk company of Korea firstly showed the work which can be described as theatre for young people in 2013. It seems to be meaningful to examine how the critical mind of theatre for young people is expressed in changgeuk because its writer and director are all experts on theatre for young people and theatre for young people takes a part among vigorous experiments of changgeuk. This study starts with the premise that it is necessary to examine the meaning and the direction because it's the first theatre for young people. It can have positive review because it highlights the present meaning of tradition which channgeuk has by contemporary questioning and it keeps the identity of channgeuk by making it focused on rhythm despite various musical attempts. However, it seems to be solved that it weakened the possibility of voluntary playgoing by putting distance to audience with emphasis of dramatic aspect and curtail of commentary. As the way to solve this problem, it is suggested to be an effective strategy to set the goal direction and repeat various description.