• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.7
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• pp.1065-1077
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• 2010

This study researchers the libretto and the original novel of the opera to propose fashion styles and stage costumes for the opera, "La $boh\grave{e}me$." This article studied the meanings of the $boh\grave{e}me$ in the 1830's France and the characteristics of the $boh\grave{e}me$ that appeared in the original novel, "$Sc\grave{e}nes$ de la vie de $boh\grave{e}me$." The characteristics of bohemian fashion styles in the $Sc\grave{e}nes$ de la vie de $boh\grave{e}me$ were not normal, not related with trends, and not new. Before presenting the new fashion styles, this study examined the stage costume problems of La $boh\grave{e}me$ with five existing performance materials. In conclusion, this study proposed new stage costume designs that reflect more dramatic fashion expressions of the characters, expression on the passage of time, and contemporary fashion records.

• Journal of Korean Tunnelling and Underground Space Association
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• v.4 no.1
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• pp.3-12
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• 2002

This research work is to investigate influences of the Opera House in Arts Center caused by the twin tunnel construction. The Opera House of 3D structural feature with various type of foundations and adjacent twin tunnels are modeled in 3-Dimensional mesh for FEM analysis. Confirmation of safety is essential for this particular type of structure, and attention level and warning level of control criteria are examined for the protection of the Opera House by means of the analytical results.

• Journal of the Korean Society of Costume
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• v.60 no.8
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• pp.132-150
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• 2010

The purpose of this research was to study the forms and styles of the costumes in the Peking Opera of China and to figure out the symbolism and aesthetic value of the costumes. The research was done using documentary Peking Opera, the costumes can be seen as a special kind of language which audience members can clearly understand it. Therefore, the spectators can understand instantly the sex, age, personality, and position of the character by seeing the style, color, and patterns of the costumes. As a result, one can call the costumes of Peking Opera, "picturizing costumes". The typical costumes are mangpao, pi, kao, xiezi, yi. Mangpao is the ceremonial robe often used by emperors and officials. It can be worn by lao sheng, xiao sheng and wu sheng. Bright yellow and apricot yellow colors are used exclusively by those who play the parts of emperors, foreign rulers, princes and the Monkey King. The next costume style to be discussed is Pi. Pi is the informal dress for the emperor, and young officials that are involved in civilian or military duties. The third costume style to be explored is Kao: the garment that a stage warrior wears when going into battle. This warrior can have three kinds of armor: the hard armor, the soft armor and the newly revised armor. Fourthly, the costume that is the most commonly worn, xiezi, is examined; it is the informal coat for every one regardless of one's age, sex, role, or level of nobility. Finally, the last of the typical costumes is Yi; this costume category includes numerous kinds of costumes, such as kaichang, baguaiyi, fayi, guanyi, yulinjia, kanjian, toupeng, jianyi, etc

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.1
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• pp.105-115
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• 2014

The costumes (including mask) of the first World Master series of The National Changguk Company of Korea, Achim Freyer's 'Mr. Rabbit & Dragon king' is directly designed by Achim Freyer who was in charge of direction and stage design. The new form called Pansori opera is proposed for modernization of Korean traditional opera, it maintained the original form of music yet introduced play form of opera. The costumes and stage also promoted modernistic transformation while maintaining the original Korean form. The overall concept of 'Mr. Rabbit & Dragon king' costumes emphasizes comical effect by abstractness like childlike scribble. It expressed characteristic of characters diversely through exaggeration and expansion while maintaining original form of Hanbok, used surface of costumes as a drawing board, and created flat and geometrically transformed silhouette. The complicated characters was caricatured like everyone is doing mask play by using masks, and it still maintained sophisticated oriental color with modern application of five cardinal colors. It may seems it just mixed our traditional elements like a hint of humor, however, it could be known that it introduced various techniques in it to deliver new subject while maintaining the original form of 'Mr. Rabbit & Dragon king'. From this study, open mind for our tradition and need for diverse attempt could be rediscovered and could also see the possibility to contribute on creating a Nation Brand of traditional performing art.

• Journal of the Korean Society of Costume
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• v.61 no.2
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• pp.72-87
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• 2011

The 21st century are seeing a large number of performing arts, and one of them, opera is evolving, transforming itself as one of total arts. Besides, the costume in performing art which play a major role in opera's visual impact, characterize figures, set the tone for performance and greatly contribute to the perfection of the stage. Under these circumstances, the study developed designs of stage costumes and built a full-scale production of the Magic Flute, one of three greatest Mozart operas. The opera based on a fiction, is still popular today since it is a fantastic fairy tale introducing moral and ethical lessons. The play's background itself is Egypt. But due to its fairy-take-like storyline, it has been performed focusing on various concepts rather than on costumes prepared through background research. As such, this study conducted research on designs of stage costumes that contains the element of Egypt and also take athleticism and comfort into consideration. The results derived from the study were as follows. First, traditional dresses of ancient Egypt were used as a basis while adding some modem touch in terms of forms or colors, which resulted in a new design. Second, a variety of images were captured using textures and colors that fit the characteristics of attributes of the figures. Third painting techniques were used to help highlight the symbolic image of Egypt-simple, not heavy and extravagant-with fairy-tale-like fantasy.

• Journal of the Korean Society of Costume
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• v.57 no.3 s.112
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• pp.90-107
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• 2007

Modernization movement has affected classical operas. Today, classical operas are often re-interpreted from the modern perspective and played differently only with the storyline maintained. Also, operas are increasingly performed outside traditional theaters as the boundaries between stage and audience become less obvious. Accordingly, stage costumes are being differently designed than before. New attempts are being made to look costumes in a harmony with increasingly streamlined stage machinery. This helps increase public attention on operas, consequently promoting the opera industry. This study examines modernization of opera costumes. For this study, the author worked as one of costume design staff for "Faust," which was played in Sungnam Art Center from November 24, 2005 to November 27, 2005 in commemoration of the opening of the center. The following outcomes of the crowd are drawn from this study. A variety of splendid pink dresses, ribbons, dolls, hand mirror, and hair bands were used to express haughty girls with "Princess Syndrome." Fashion models, the envy of all woman, wore fashionable clothes including luxury dresses, fur-coats, high heels, purses, and hats, Models also had big shopping bags and gift boxes to symbolize shopping lovers in a modern society. Gay men wore tight leather trousers and vest and sleeves shirts with deeply cut neckline to express their preference for feminie style. their clothes were splendid colors that normally women liked such as gold, purple, light green, scarlet, and silver. Soldiers were in combat uniform representing their participation in the war. In particular, clothes stained with dirt, iron helmet, crutches, and canteens were used to vividly express soldiers coming back home from the war. Modern opera costumes now help reduce the time and space between stage and audience, improve economic efficiency, and meet the audience's needs for various style.

• Korean Institute of Interior Design Journal
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• v.19 no.3
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• pp.172-179
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• 2010

The Sydney Opera House is built on a peninsula of rock that juts out into Sydney Harbor. The site was once a landing place for ships. Utzon, Architect, designed the theatres for the Opera House to fit the shape. The two theatres were placed side by side so that they both had extensive harbor views. The Sydney Opera House is designed the foyers to take full advantage of these sights. Because the building would be seen from all sides, even from above, it was to be a piece of sculpture. The outside was as important as the inside. The audience enters from behind the stage and walks around to the foyers overlooking the harbour. The wing and backstage areas are small because of the way the foyers wrap around the theatre. The stage is made up of large platform lifts which provide the vertical movement for changing scenery. The sets come up from the workshops below stage. The flytower fits under the largest roof shell and doesn't break the skyline. The important elements are the podium, the shells and the reminders. The podium, the huge monolithic concrete structure, contains hundreds of rooms and nearly all the technical equipment. The podium is clad with pink granite slabs and seen from the water. This design eliminated a maze of fire escape stairs and, at the same time, gave people a wonderful view of the harbour. The egg shell is remarkably strong and express the form as the symbol of the site.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.3
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• pp.457-466
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• 2009

The purpose of this study is to research the similarity and difference of color application in culture of Korea and China. The subject of this research is the costume color of Changgeuk and Beijing opera. First, a bibliographical inquiry includes the attributes of cultural color in Korea and China and the costume attributes of Changgeuk and Beijing opera. Second, this survey analyzes Munsell's 3 attributes(Hue, Value, Chroma), tone by extracted color data. The results of this study are as follows: 1. The cultural color factors of Korea and China are classified geographical factor, internal cultural factor and external cultural factor. 2. Changgeuk costume much more used high value and medium & low chroma for korean temperate climate. But Beijing opera costume prefers high-medium value and low chroma color, various ranges of color because of China huge land and various climates, as geographical factor. 3. Changgeuk costume much more used YR color(no-dyeing color) because of korean white robe preference. Beijing opera costume much more used R color than Changgeuk costume because of traditional preference of R color, as infernal cultural factor. 4. Changgeuk costume and Beijing opera costume show the practical use of ascetic cole. like as jade green. Ojungsaek much less used than Obangsaek by the theory of exponents of the five elements doctrine, as external cultural factor.

• Korean Journal of Optics and Photonics
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• v.16 no.3
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• pp.261-265
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• 2005

The large and polarization-independent photonic bandgap (PBG) is very useful to the application to various optical devices. Until present, it has been known that the PBG for a triangular lattice remains the largest both in the E- and H-polarized modes. However, we proposed a new structure with a larger polarization-independent PBG, by analyzing and systemizing the PBG opening trends as the structural changes. This optimal structure for maximum bandgap has more increased gap-midgap ratio $(\Delta\omega/\omega)$ of about $30\%$ than the triangular lattice.

• Cross-Cultural Studies
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• v.22
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• pp.223-277
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• 2011

Tan Yuanjie(譚元杰) of CHINA COSTUME ART OF PEKING OPERA("中國京劇服裝圖譜") is 'Foreword' attention from the bar 'Formalism'. A note is makeup system from ever performances here, 'what kind of adaptation must be a corresponding type of costume should be worn.' This stance to 'type of person's identity and faced the scene correlated' with the actual performance tradition plays out is going and, while here the rules to capture the opera's on the character of 'identity and the circumstances under clothing' is defined. This position discussed previously 'Formalism' in line with the will he perform, and looks to meet the elements of production. This basic stance is clean up, while 'Old Beijing Opera costumes costumes taxonomy largely' literary costume' and 'militant outfit' into two groups divided over throughout steamroll surgery, because surely need to have a more systematic classification. The classification system was established as 'Part 1. Mang, Part 2. Pi, Part 3. Xi, Part 4. Kao, Part 5. YI'. In addition to these classification systems, as well as the aforementioned 'object theory' Given the symbolic significance of the capacity to keep in mind is necessary. Costumes conduct, character, situation, atmosphere and so the transport of charged symbols here, a target symbol of the system is the projection of water. This costume is detrimental to the mall for the positionsay, but I kept in mind damwongeolyi internationalization of Chinese culture. when you see the view from the perspective of semiotic systems for the sign, that the theater is necessary to complement. In this paper, 'Yi(衣)' costume on the corresponding point of the target compared to the China Culture Department of Theatre and Folklore methodology ran off and sprinting was to lay the groundwork for research.