• Cross-Cultural Studies
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• v.23
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• pp.127-165
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• 2011

This paper focuses on the specificities and semantic meaning of Mikhail Bulgakov's metadrama White Guard and The Flight. The standard conception of metadrama is to purposefully break the dramatic illusion and make bare a playwright's self-consciousness of the theatrical art itself. With the use of the metadrama Bulgakov expressed the essentials of ugly reality, which he couldn't accept as a valuable truth. In this respect, Bulgakov's metadrama becomes at once a window, from which he views the external world in the theatrical vision, and a mirror, in which his political and existential stance as a playwright is reflected. In White Guard Bulgakov described the already theatricalized reality through several instances of 'play-within-play'. In The Flight, composed of eight pieces of dream, a life turned out to be a less solid and less firm reality than dream. Continuously demolishing the cognitive wall between reality and illusion, Bulgakov leads spectators to have a reflective view on the reality. Allowing more powerful demonstrativeness for a play-within-play than for a play-within-play, Bulgakov elevates a metadramatic technique to the level of thematic structure.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.5-59
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• 2014

This paper investigates the development and aesthetics of Korean political theatre from its quickening period 1920s to democratization era 1990s. Political theatre before 90s developed an antithesis resistant movement toward Korean modern history that had been scattered with suppressing political circumstances such as colonial era and dictatorial government, the movement has powerful activity and social influences. Just like the 20 century political theatre had been quickened under the influence of Marxism at Russia and Germany in 1920s, Korea's political theatre began in socialism theatre movement form around the same time. Proletarian theatre groups had been founded in Japan and Korea, and developed into practical movement with organized connection. However, the political theatre movement in Japanese colonial era was an empty vessel makes great sound but not much accomplishments. Most performance had been canceled or disapproved by suppression or censorship of the Japanese Empire. The political theatre in liberation era was the left drama inherited from Proletarian theatre of the colonial era. Korean Theatre alliance took lead the theatrical world unfold activities based on theatre popularization theory such as 'culture activists' taking a jump up the line and 'independent theatre' peeping into production spot as well as the important event, Independence Movement Day Memorial tournament theatre. Since 1947, US army military government in Korea strongly oppressed the left performances to stop and theatrical movement was ended due to many left theatrical people defection to North Korea. The political theatre in 1960s to 70s the Park regime, developed in dramatically different ways according to orthodox group and group out of power. The political theatre of institutional system handled judgment on sterile people and had indirect political theatre from that took history material and allegory technique because of censorship. In political theatre out of institution, it started outdoor theatre that has modernized traditional performance style and established deep relationship with labor spot and culture movement organizations. Madangguek(Outdoor theatre) is 'Attentive political theatre', satirizing and offending the political and social inconsistencies such as the dictatorial government's oppression and unbalanced distribution, alienation of general people, and foreign powers' pillage sharply as well as laughing at the Establishment with negative characters. The political theatre in 1980s is divided into two categories; political theatre of institutional system and Madangguek. Institutional Political theatre mainly performed in Korea Theatre Festival and the theatre group 'Yeonwoo-Moudae' led political theatre as private theatre company. Madangguek developed into an outdoor theatrical for indoor theatre capturing postcolonial historical view. Yeonwoo-Moudae theatre company produced representative political plays at 80s such as The chronicles of Han's, Birds fly away too, and so on by combining freewheeling play spirit of Madangguek and epic theatre. Political theatre was all the rage since the age of democratization started in 1987 and political materials has been freed from ban. However, political theatre was slowly declined as real socialism was crumbling and postmodernism is becoming the spirit of the times. After 90s, there are no more plays of ideology and propaganda that aim at politicization of theatre. As the age rapidly entered into the age of deideology, political theatre discourse also changed greatly. The concept 'the political' became influential as a new political possibility that stands up to neoliberalism system in the evasion of politics. Rather than reenact political issues, it experiments new political theatre that involves something political by deconstructing and reassigning audience's political sense with provocative forms, staging others and drawing discussion about it.

• The Journal of the Korea Contents Association
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• v.15 no.11
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• pp.672-679
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• 2015

The early stage of Korean language education was to understand grammar. However, recent Korean language education aims to improve expressive ability for smooth communication. Hence, educational drama for education has gained attention as one of the effective ways of improving communication skills. Educational drama provides an actual conversational situation in which one can use appropriate words and grammar depending on the situation. Non-verbal expression such as body language and facial expression could be picked up so one also improves one's communicative abilities naturally. This means that educational drama shares Korean language education's goal of improving communicative ability. Moreover, the student becomes the core of the activity and finds solutions through cooperation with others, and this also helps improve social skills and self-esteem. This thesis covers methods of having interviews, re-writing texts to scripts, writing up post-script by imagining the following text, role-playing, and improving expressive ability by debating educational theatrical techniques. To make these activities successful, good quality VOD and learning materials shall be developed and used. Also, efficient training programs shall be created so that teachers make use of what they learn and improve their teaching skills.

• ETRI Journal
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• v.39 no.2
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• pp.255-263
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• 2017

This paper proposes a graph-theatrical approach to optimize spatial reuse by adopting a technique that quantizes the channel information into single bit sub-messages. First, we introduce an interference graph to model the network topology. Based on the interference graph, the computational requirements of the algorithm that computes the optimal spatial reuse factor of each user are reduced to quasilinear time complexity, ideal for practical implementation. We perform a resource allocation procedure that can maximize the efficiency of spatial reuse. The proposed spatial reuse scheme provides advantages in beamforming systems, where in the interference with neighbor nodes can be mitigated by using directional beams. Based on results of system level measurements performed to illustrate the physical interference from practical millimeter wave wireless links, we conclude that the potential of the proposed algorithm is both feasible and promising.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.91-102
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• 2020

The purpose of this study is to analyze musical songs from an academic perspective by applying vocal techniques that can express songs in depth in three dimensions. Singing a musical song cannot be completed with just the musical part, rather, it should be accompanied by the analysis of various aspects such as the emotional state of the scenes and the characters. To this end, this study performed a multi-dimensional analysis of fields such as theatrical structure, lyrics, musical structure, and dynamics. In addition, the study explored and applied Estill Voice Training(EVT) that actors can best express songs with the emotions of the theater and music. EVT categorizes voice into six tones: speech, sob/cry, falsetto, twang, opera, and belting. In this study, in addition to these six sounds, the positions of vocal cords and larynx were also applied to seek ways to effectively express songs using "Gar Nichts" from the musical "Elisabeth" as a case study. "Gar Nichts" is a song sung by the protagonist Elisabeth, which expresses the self and the conflict at the peak of pain. Musically, this song requires various sound and voice-changing techniques to cover the range of "G#3-Gb5." As a result, it was confirmed that in order to embody the emotions of the characters and the songs in depth, the analysis of scenes and characters as well as various singing techniques need to be applied in harmony.

• Journal of the Korean Society of Costume
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• v.66 no.8
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• pp.78-97
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• 2016

The purpose of this study is to develop textile pattern designs by utilizing the prototype of traditional culture extracted from cultural resources in order to establish a specialty strategy for local cultural contents. To achieve this, the study selected the Hyojaemunjado as source of Jeju traditional culture. Jeju's Hyojaemunjado is characterized mainly by the creative and unique formativeness of Jeju's character paintings. Character paintings often contained images related to the characters featured inside characters, or composed stroke with symbolic iconography. The main subjects of Hyojaemunjado were stories that alluded to the Confucian virtues. Therefore, the purpose of this study was to remind people of the real meaning of Shin(truth) by developing textile pattern designs, which borrows the tessellation technique for design, and the dominant characteristic of geometric abstraction. This study used theoretical research and empirical analysis. First, the study did the theatrical research on Hyojaemunjado based on literature and precedent studies, and then analyzed the style of expression and formativeness on the Shin character paintings through real analysis of Jeju's Hyojaemunjado kept in Jeju National University Museum. Second, based on the analysis of the style(three-tier composition) and formativeness of Hyojaemunjado, it analyzed the formativeness of the iconography about Shin, i.e. character types(semi cursive style, square style) drawn according to the symbolic meaning, palace, unknown flower, pheasant, tile fish and constellation. Based on analysis of the iconography, it stylized the motives that became available on the Archimedean tiling of tessellation, and then developed the textile pattern designs by arranging the iconographic motives with Platonic tiling and Semi-tiling. The reason why this study borrowed tessellation was to create various visual effects using the size of angle, symmetry and change and joint with simple figure.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.3
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• pp.17-32
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• 2017

Modern society has been transformed into a digital emotional society that could gradually be seen, felt, and enjoyed by the diversification of personal consumption desires due to digital development. Accordingly, in fashion, an original fashion sense that arose out of classical and conventional thinking has become important and there is an increasing interest in patchwork quilts. The purpose of this study lies in contributing to the development and utilization of creative and emotional fashion design by expanding the mental changes that have emerged in modern society to creative areas after analyzing the classification and expression characteristics of the type cases of patchwork quilt techniques expressed in modern fashion. In addition, it is meaningful to examine how the expressive characteristics of patchwork quilts are expressed in the digital emotion era. This study paralleled literature research and empirical case studies. In the scope and method of research, the theatrical research was centered on literature data. For visual data, website photos were collected, limited to women's clothing among the collections from Fall & Winter 2014 to Spring & Summer 2017. After drawing the expression types of patchwork quilts extracted from the previous research based on the design formative factors, the fashion-related expert group analyzed the expressive characteristics of 501 photographs in which the patchwork quilt of the designer clothing collection were reflected. As a result of analysis, the expressive types appeared in the order of diversification of techniques and materials, extended dual images, new formative composition, and reconstruction of traditional patchwork. In this study, the expressive characteristics of patchwork quilts expressed in contemporary fashion are analyzed and drawn as variability, compromise, convergence, and playfulness. Through this, it is hoped that this study can be used variously in the development of fashion design by expanding the interpretation of costume culture.

• Cartoon and Animation Studies
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• s.48
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• pp.45-67
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• 2017

Many of the modern animations have 3D technology, and as time goes by, their production technology becomes more diverse and sophisticated. When John Alan Lasseter insisted on studying CG animation technology, he might have taken our jobs to the computer in the near future, as many people were worried about. It may be premature to worry that an unstable future may become a reality at this point, but I do not think there will be any difference in the fact that many animations are being produced using 3D technology. Since the Toy Story was screened in 1995, the 3D animation production technology has started to develop rapidly and now it has been elaborately developed so that it can not distinguish the part where computer graphics technology is applied from the live film. On the other hand, Disney's 2D animation part falls into the decline path because the appearance of 3D animation was perceived as a new expression technique at that time, and the efficiency of the work process was superior to the 2D animation in addition to receiving the attention from the audience. Is it necessary to accept the retrogression of 2D animation technology, reflecting the environment of the animation industry that 3D animation production technology has become mainstream in the first 20 years since the first theatrical works appeared? Since 2D animation technology has a long history and is still attractive to the audience, it is not hard to find an attempt to combine 2D and 3D animation technology. In this paper, I want to study 2D hand - drawn character in 3D animation. Through this, it is hoped that animation convergence technology will be applied more actively in the future.