• (The) Research of the performance art and culture
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• no.40
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• pp.5-35
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• 2020

Affect is intensity and quality that are generated as the physical body senses the outside world. Of experienced affect, notions that are granted meaning and interpretation are emotions. Affect theory distinguishes emotion and affect and by focusing on affect, it provides methods with which to analyze physical body responses and changes and it presents new possibilities to performing arts research that uses the physical body as a medium. Nong-ak is art that concentrates mainly on the occurrence of affect rather than 'representation'. Nong-ak is a performance type in which sound, color, texture, and physical movement overlap and exist in a synesthetic way. Here, physical things such as instruments, props, costumes, and stage devices are gathered together with non-physical things such as rhythm, mood, and atmosphere around human bodies. The physical body is stimulated by these things, displays tendencies that suit performances, and becomes 'the body without an image' as it immerses itself into the performance, acting while displaying 'quasi-corporeality'. The body, which moves automatically as if without consciousness, appears more easily within groups. To transition individuals of everyday life to 'the body without an image', Nong-ak executes the group physical exercise of 'Jinpuri'. Such physical exercise builds up affect by increasing nonverbal communion and communication and brings out the creativity of individuals within mutual trust and a sense of belonging. Affect and emotion stirred up by Nong-ak act as confirmation and affirmation of the existence, vitality, and ability of one's self and groups. Such affirmation recalls Nong-ak as a meaningful and important value from group dimensions and perceives it as a performance form that should be preserved and passed on.

• Journal of Digital Convergence
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• v.18 no.5
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• pp.455-463
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• 2020

This researcher has sorted out the development process of death aesthetics contained in human art through advanced research. This research is a follow-up study of related research, which studies the aesthetic meaning of death in Alexander McQueen's fashion works. This study first classifies the aesthetic characteristics of death, and then analyzes and sorts out the aesthetics of death in Alexander McQueen's clothing works based on this. The results of this study are as follows: first, the aesthetic manifestations of death are divided into three categories: reproducibility, symbolic and religious. Among them, the representation of reproducibility includes the representation of real objects and the representation of virtual objects, and the symbolic performance includes two types of external performance and internal performance. Second, in Alexander McQueen's works, the reproducibility of death was mainly reflected by virtual stage scenes and costumes. Thirdly, the symbolic death is not only reflected in the skeletons and blood etc. directly related to the death of the body, but also in the various emotions and psychological states caused by the death. Fourth, the religious nature of death was represented in Alexander McQueen's works through such representative things as crosses and religious stories.

• Journal of Korea Entertainment Industry Association
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• v.15 no.1
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• pp.13-25
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• 2021

Hoseonmu belongs to the genre of a composite of song, music, and dance. At that time, there was no widely known record of Hoseonmu in Baekje, but it is clear that it was popular enough to be invited to Changan by Emperor Yang of Sui. The musical instruments, songs, and dances were analyzed through the research method of literature and the content of the Hoseonmu version was established. The setting of the stage for the performance of Baekje instrumental music reveals its characteristics through sabangak from Gigaku in the neighboring countries. The stage for Hoseonmu was set up utilizing the creation of the imperial performance stage in the Baekje instrumental music. In particular, Hoseonmu has two types: heavenly and earthly. The heavenly Hoseonmu can be found on the wall of the Cave No. 220 formed in the Chodang (618-707) era. They include Dongbang Pharmacopoeia jingbian and Western Paradise jingbian. Hoseonmu would have chosen to be the fast-paced spinning dance. Motions for Hoseonmu could be set up through them. Meanwhile, Mimaji's instrumental dance is presented. Six dancers appear in two turns of the performance. Four dancers in front row and other two in the back are dressed up as hunters, wearing goblin masks, and holding flowering plum tree branches in their right hands. Through this, the movements and costumes of Hoseonmu are reproduced in more detail. Various sectors of education, theater, dance, and tourism in the Hoseonmu contents of Baekje instrumental music contributed to the Korean Wave.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.1
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• pp.1-13
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• 2005

This study is for the construction of Cheo-Yongdance Costumeby historical research based on Ak-Hak-Gue-Peom(樂學軌範). Through the production of Cheo-Yongdance Costume by historical research, it is examined and this study is expected that be a help of the right succession of a traditional costume. Cheo-Yongdance Costumeis draught to real size by comparing the size and picture suggested in Ak-Hak-Gue-Peom. In the specialty of Cheoyong(處容) dance Costume in the drawing, the length of clothes was 152cm that is longer than the length of the excavated Danlyeong(團領) of Chosun Dynasty period. Width was 81.9cm that is very big and the width of Danlyeong is 11.7cm. The sleeve length of Hansam(汗衫) is 20O.60cm and it is one that attached Hansam to Jeogori(저고리). The material used for Cheoyong dance Costume is Dan(緞), Cho, Joo(紬), Red gold patterned brocade(紅金線). At the same part, and as the goal was differently used at the same clothing. As the methods of dyeing, the process of dyeing naturally is suggested. A gardenia seeds, indigo plant, and ink stick are used for the color of blue, red, yellow and black. The producing process is made in concrete by suggesting the process of producing clothing. Danlyeong is required the technique of smoothing out wrinklesin case of attaching. Goon(裙) was made by making plaits below and attaching string for making form in the literature. Ui(衣), Chon-ui(天衣) and Goon(裙)'s Bang-sul(方膝) are drawn a Man-hwa Mun(蔓花紋) on Ak-Hak-Gue-Peom by using the golden dyeing material. As the result of producing the clothe by using the recorded size in Ak-Hak-Gue-Peom, it could be examine a pertinent dance clothing for expressing the dance performance with big motions.

• Korean Institute of Interior Design Journal
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• v.18 no.1
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• pp.3-10
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• 2009

The relationship between light and space is fundamental In an opera stage design. In contemporary stage design, light, color and space themselves became one of tile most important elements to express and symbolize the content of the opera. This was very different compared to the primitive and medieval opera stage design in the past. The designer tried to represent the same periodical background of the opera with exact replica of the buildings as well as costumes. In comtemporary performance art, light became one the most important aspects in design. Max Keller is one of the living pioneers in stage lighting design. This thesis that is based on his lighting experiments and projects attempts to examine how contemporary stage design and light are applied and what kind of characteristics they have. One of the Wagner's opera, "Tristan und Isolde" was selected to be further analyzed. Three different "Tristan und Isolde" opera stage designs were carefully studied in terms of how three designs are differently constructed for specific same contents of the opera. This sort of comparison study is crucial when there is a strict parameter that is the opera itself. It was found that three opera stages have very different stage designs and unique ways of expressing the opera flow and contents. However, in some parts, very similar lightings were used. This sort of multi-disciplinary study can be helpful to re-think the interior environment by applying light as a fundamental medium.

• The Research Journal of the Costume Culture
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• v.29 no.1
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• pp.16-27
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• 2021

The purpose of this study was to identify the structure and characteristics for the reproduction of the armor in the Unified Silla period, and then reproduce and utilize it as a cultural content. In the armor reproduction project excavated from Jaemaejeong, Gyeongju. Jaemaejeong armor is consisting of Singap (身甲, body armor), Sanggap (裳甲, hip armor), and Sangbakgap (上膊甲, upper arm armor) at the time of excavation. Unlike the armor of the Three Kingdoms period, Singap and Sanggap are separated. Singap is Yangdangsik (裲襠式, side opening method) and Gyunggap (頸甲, gorget) was not unearthed, Sangbakgap was divided into a part that protects the left and right upper arms and a part that protects the chest, so that the unexcavated head and neck cover of the helmet can be protected to the shoulder. In addition, in the case of Chalgap (札甲, lamellar armor), the Oejungsik (外重式, folded from outside to inside) is mainly used, but it is peculiar that Naejungsik (內重式, folded from inside to outside) is used in Sangbakgap of Jaemaejeong armor. It is presumed that this was used as a method to ensure that the armor were closely attached to the human body. In order to design with the parade armor of Gochwidae in Gyeongju based on the reproduced Jaemaejeong armor, the designer's imagination and historical work of the times were involved due to the characteristics of performance costumes. Reproduced armor as a cultural content should be considered indispensable to simplify and lighten clothing suitable for performances based on the excavated historical armor.

• 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.

• (The) Research of the performance art and culture
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• no.35
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• pp.93-123
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• 2017

The Buddhist dance, which is considered to be the essence of Korean folk dance, has changed and developed over many years, having profound influential relations with Buddhism in terms of its origin, source, title, and costumes. Today the Buddhist dance is performed in two fixed types, Jangsam dance and Buk dance, but it is estimated that there must have been various forms of Buddhist dance during the Japanese rule based on the its historicity and various origination theories. It was around 1940 that Jang Yang-seon, the master of Haejugwonbeon, turned 'Seungininsangmu' into a work through Yang So-woon. The present study analyzed the video of 'Seungininsangmu' performed at the 'Performance in the Memory of Yang So-woon' in 2010, and the analysis results were as follows: first, the dance has a clear message to be delivered in its title and connotes an origination theory of Buddhist dance, which argues that the Buddhist dance was created by a Buddhist that underwent agony and corruption during his ascetic practice and later returned to Buddhism. Secondly, the process of Jangsam dance - Buknori - Bara dance - Heoteun dance - Hoisimgok - Guiui shows the thematic consciousness of the dance clearly in a sequential manner. Finally, the dance was in a form of combining various expressive methods according to the story and its development including the Bara dance, a dance performed in a Buddhist ceremony, the Heoteun dance, which is strongly characterized by individuality and spontaneity that are folk features, and Hoisimgok, the Buddhist music. Those findings indicate that the dance reflected well the flow of putting the Buddhist dance on the stage or turning it into a work in the early 20th century. Compared with the types of Buddhist dance in a strong form including the Jangsam dance and Buk dance, 'Seungininsangmu' conveys the meanings that the original Buddhist dance tried to express in terms of content and reflects on the diversity of combined Akgamu and theatrical elements in terms of form. The present study is significant in that it offers many implications for the Buddhist dance capable of future-oriented development.

• (The) Research of the performance art and culture
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• no.32
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• pp.209-241
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• 2016

"Women's Nong-ak (農樂, Traditional Korean music performed by farmers)" was born together with "Maiden group." This study focuses on the reason why women appeared as principal agents of Nong-ak which was almost exclusive to men previously and especially, on the appearance of women Nong-ak Artists who was previously worked in Traditional Drama Troupe. This study empirically deals with details of activities of Maiden's (娘子) Nong-ak troupes and Girls' (少女) Nong-ak troupes through newspaper articles. Women Nong-ak Artists enjoyed popularity with their peculiar attractions. Participating in Nong-ak contests and collecting money for their performances, women Nong-ak Artists learned their skills form masters of Woodo Nong-ak and attracted attention with their colorful costumes. Women of Nong-ak circle especially saw through the trend of the time, expanded their arena of activities and exercised flexibility and ability to react quickly to changing situations while mixing with various genres. In particular, young girls were mobilized to show value and marketability of Korean culture as cultural medium who decorated "Pure Nong-ak art stage." They were no different from "Pretty dolls dancing like angels" who could not purse their interest and economic benefit or incite political cause and their patrons were domestic and overseas political figures. Women artists, who put Nong-ak on the stage in the name of Maiden's (娘子) Nong-ak troupes and Girls' (少女) Nong-ak after the liberation from Japanese colonial rule, contributed to expansion of market base. Women Nong-ak artists, who dominated a century in such troupes as Sadangpae, Hyuprulsa, Maiden's (娘子) Nong-ak troupes, Girls' (少女) Nong-ak troupes and Women Nong-ak troupes, were the very heroines who overturned the conventions of "male predominance (男尊女卑)" which filled Nong-ak arena and cultivated a new tradition of Nong-ak culture.