• Journal of the Korean Society of Costume
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• v.64 no.7
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• pp.114-127
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• 2014

Performing arts offer fun and knowledge and are directed for various purposes. Performing arts are also used as a means for education. Children's English media musical, 'The Magic Flute' is the performance reflecting all these. The author of this study took part in stage costume production, and this study was carried out aiming at designing and producing stage costume in line with educational purpose and intention. This study consists of an analysis stage for the existing performances of 'The Magic Flute', and a stage costume design and production stage for children's English media musical, 'The Magic Flute', First, this study classified and analyzed the stage design and stage costume design of the existing 'The Magic Flute' by concept, and then, examined their features, respectively. and this study unfolded the stage costume concept, based on the analyses of existing performance's stage costume and the characters' personality and features described in the current study subject's script. As the last step of this study made each character's stage costume. A total of 69 costumes for stage costume were made for 7 types of characters. This study is considered to have huge significance in that the stage costume was developed for 'The Magic Flute'.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.4
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• pp.1-15
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• 2013

The stage costume in theater, along with the stage art, is the element that has the biggest visual effect in helping the audience to understand the theater. Nevertheless, in the domestic theater production system, compared with the other public performance products, the stage costume has been rented or purchased due to the lack understanding of the importance of the stage costume and budget problem, and thus the role of the stage costume has been undervalued. Such a phenomenon is more noticeable in the small scale theater. However, in this play White Neutral Nation (Original: Andorra), the production team and the directing team recognized the importance of the costume in the early stage of production, and accordingly lots of efforts, such as staff meetings and budget allocation, were made for the stage costume. As a result, the entire production process of the stage costume could be examined. Recently, performance culture in Korea has made rapid progress and diverse forms of public performances are created and planned. Accordingly, the level of audience has been rising and the interest in the stage costume is also rising. So, it can be said that not only the stage costume but also the production system that makes it are important. This research examined the production process of the stage costume only of the play White Neutral Nation but it is considered necessary to make researches on the production process of the stage costume used for the theater of different themes and public performances of different kinds and to systematize their production process of the stage costume.

• Journal of the Korean Society of Costume
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• v.38
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• pp.83-100
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• 1998

The purpose of this study is to figure out how stage costume of Peking Opera communicates what the character wants to inform to spectator. The stage costume means the clothing, shoes, headdress, accessory that the cast is worn for communicating personality of character. Stage costume not only reveals the character of new spirit who the director and the work is like to create, but also makes the style of play harmonizing with the atmosphere of the work. So, the stage costume in the play is a sort of symbol system that forms the depth of play. The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera don't have the same rank system with real history costume and don't have demarcation according to period and history. Only it is that transformed and created the real history costume with Chinese fine view and made how they wear Chinese fine view and made how they wear the costume according to position, age, personality of character in the play. In the stage costume of Peking Opera, the color is cultural language that director can communicate to spectators and can inform spectator of sex, age, personality, position of the character. The color of the stage costume of Peking Opera reflects the principles of Yin and Yang and the five elements of the Chinese cosmogony. The pattern of decoration also makes the personality and characteristic of the character. The dragon pattern symbols the authority and majesty, so only the character of high position can use it. The pattern of tiger and leopard symbols bravery, so the military officer can use it. Civil officer decorates with the pattern of Japanese apricot, orchid, chrysanthmum, bamboo that symbols integrity and honor. The stage costume of Peking Opera communicates the identity of character with the special form of costume. Kanjien is a costume of the young priestess, Houyi is the Sunwukong'costume. Chayi is a costume of boatman. Lingzi, Sweixiu, Kaoqi is the props for the foramtive effect of stage costume, also they play an important part in expressing the emotion situation. In the result of study, we could know that the form, color, pattern of the stage costume and props of Peking Opera play important parts in communicating informations that let spectator can understand the play. So, the stage costume of Peking Opera is an‘picturizing costume’that the form, color, pattern of the stage costume is a sort of symbol system. It makes spectator feels actually the viewing Peking Opera.

• Journal of the Korean Society of Costume
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• v.24
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• pp.177-192
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• 1995

The purpos대 f this research was to figure out clothing imagery underlying Shakepeare's King Lear and transfer it into actual stage costume. Three steps were taken in order to achieve the purpose . The first step exemined theoretical background of the Shakepeare's imagery. The second step reviewed a wide spectum of stage costume used in the last four centuries. The final step was to design and produced actual stage costume focusing on Lear, while considering clothing imagery drawn from the previous steps. King Lear contained rich clothing imagery which could contrast the relationship between material and spirit. In particular, it shed light on the contrast between Lear's divesting and Edgar's wearing and denoted that wearing and divesting processes were closely related to spiritual and status changes. A review of stage costume used for four centuries was prepared in order to understand how clothing imagery was applied in producing stage costume. It was found that their stage costume was reflecting clothing imagery captured from the analysis of king Lear. On the basis of this review, this research presented Lear's stage costume which applied clothing imagery drawn from King Lear. In producing stage costume , actual stage costume used Elizabethan fashion as its basic color and pattern. It also utilized modern clothing production techniques and ornaments acceptable in these days. As Lear was depicted as a character who underwent spiritual and status changes in the process of divesting , his costume was produced in line with this clothing imagery (i.e., divesting). The long journey of reviewing and analyzing King Lear from a stand point of clothing reassured us, on the one hand, the importance of stage costume. On the other hand, it established the groundwork for developing the methodology of fashion design by applying clothing imagery drawn from literature to design and production of stage costume.

• Journal of the Korean Society of Costume
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• v.52 no.8
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• pp.1-13
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• 2002

The object of this research is to know the characteristics of design for stage costume design through experiencing production of costume design of Mascani's opera "Cavalleria Rusticana" and to know the effect of stage costume at real performance. Background of times and characteristics were reviewed by analyzing opera. And reference regarding Mascani's opera "Cavalleria Rusticana" and script, and image data analysis and interview with director were also done. Ethnic costume in Sicily in southern Italy was reviewed at conception step. and design was embodied by analyzing character of each person based on this analysis. Form of character. motion and vocalization were considered at actual production step, and stage effect was analysed by considering lighting, stage background, and combination of color on costume between characters through real performance. The above conclusion could present professional and systematic methodology in designing opera and other stage costumes. And this research can also be a contribution in these days when interest for theatrical art. along with importance of stage costume, plays a key role in modern art. role in modern art.

• The Research Journal of the Costume Culture
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• v.19 no.1
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• pp.83-95
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• 2011

Today, a variety performance premiered in Korea, works of art as an advanced production planning and production system is becoming. Accordingly, the field of stage costume also increased collaboration with foreign producers and production systems and the advancement of the stage costume are required are becoming. The opening performance of the 30th anniversary of the Seoul Theater Festival was selected as Towol Theater Theater in 2009, April 16 to 26 of Picasso's women's costume is the study of production systems. This work directing and stage design by inviting domestic producers from foreign fields, and co-authored the work in the field of stage costumes in collaboration with foreign producers that are worth study and research work. In this study, this work has a practical study of costumes throughout the production system, an advanced stage costumes to contribute to the development of the field. The research methodology book data, collected papers, Internet resources through research and theoretical studies play 'Picasso's women's stage production of the award total to an empirical study was undertaken. The results of this study are as follows. First, the costume director for making a scholarly grasp of the direction of the investigation is ongoing throughout the process of creating the costumes. Second, foreign producers and co-author of the stage when the award, if other than purely domestic producers and create costumes to build production systems. Third, foreign producers and co-costume design and costume making coherent explanation for the processing of the list(Costume Breakdown List) are developed. Fourth, the actual performance over the director's intention to visualize the presentation was good enough, and the idea of the costume crew was taken to the director's idea of directing a play that reflected the will has a big meaning.

• Journal of the Korean Society of Costume
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• v.62 no.4
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• pp.1-14
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• 2012

Ever since the year 2000, Korea's musical markets has invited famous overseas license performances and have therefore cooperated with staffs working overseas in regards to stage costumes. This study aims to suggest the methodology of the stage costume making process according to the present advanced production system of Korea's musical market. The researcher participated in the stage costume making work of 'Chicago' as a costume supervisor. It took place at the Opera House of Seongnam Art Center from January 10, 2010 to February 28, 2010. Furthermore, there was significance in reinforcing academic values and implementing practical making process of stage-costumes based on the actual field work. The method of this research was carried out through a theoretical research and a case study that focused on empirical research. As for the research scope, it was limited to the actual stage-costumes that the researcher fully engaged with as a costume supervisor of the musical 'Chicago.' The results of this study were as follows. The stage costume making process of the musical 'Chicago' was categorized according to the classification of production system in the performance. For pre-production, it was divided according to the information of the actor and the analysis of the bible. Rehearsal period was divided according to the product clothes and fitting. Production week & preview were divided according to the changeover of clothes and the arrangement of dressers. The Run was divided according to the inspection of the situation concerning clothes in general during the performance. Post-Production Period was divided according to the collection of clothes and the implemented database. This study eventually suggested appropriate stage-costume making processes for the costumes making environment according to the expansion of overseas license musical market. However, it has a limitation of the research scope to the musical 'Chicago.' The creative performances of the domestic version are planned in diverse forms and come to abroad animate by the Korean Wave. Therefore, the field of stage-costume is necessary for the establishment of practical schemes of the system and copyright in accordance with the environment.

• Journal of the Korean Society of Fashion and Beauty
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• v.4 no.2 s.8
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• pp.65-73
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• 2006

Lots of audience turn their eyes upon musical to satisfy various cultural desire. It is popular culture that was watched in culture contents industry. The stage costume which turn audience's eyes in musical the most is the sight art of stage to express visually actor(actress)'s personality, mental state, administrative position, age and the distinction of sex. This study researches designed stage costume which was based on time backgrounds and historical facts of reinvented clothes and its ornaments in Egypt by 'Sonia Rykiel' through musical, 'ten commandments' with special times. We collected home and abroad documentary records, Internet data. Moreover we viewed performance to analyze stage costume and brochure photograph data to study. In consequence the stage costume of musical 'ten commandments' found its way out of traditional clothes and its ornaments largely. We can recognize the stage costume as the most important part in drama by explaining the content on drama as costume through reinvented shape with modern sense and by taking charge of the principal part to lead atmosphere. In addition, thanks to the creative work of designer for stage costume, we can realize important intermediation to make higher artistic value of musical.

• Journal of the Korean Society of Costume
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• v.60 no.4
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• pp.45-57
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• 2010

The costume in musical is an important visual factor that contributes to the level of stage completion by for the character and overall atmosphere of the whole play. Besides, as if it is has a fixed times in the drama, it has to produce to consider an opinion of producer to express the theme, atmosphere of a play and especially in the period adventure drama, to revive as it is historical dress, there is not creation at stage of today. This research is studied into the stage costume of the musical 'Jekyll and Hyde' an adapted to express image of good and evil in the one character. For this research, it researched costume of Victoria period in England, study character of main actor by analysis of the play in an original work, examine the stage costume of the musical 'Jekyll and Hyde' performed in the inside and outside of the country. In the musical stage costume, by character difficult of stage costume, factor of design feature divided to good and evil and compare feature design of stage costume, research new design express method to consider musical acting, moreover through designing and producing the costume to be suitable for the content of the work. This research consists of research and actual production of work, study of documentary records, collection and analysis of overseas performances, news releases, video material and internet research were the methods of this study.

• Journal of the Korean Society of Costume
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• v.61 no.1
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• pp.109-123
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• 2011

Postmodernism has affected general culture and arts as a powerful cultural image that has governed the later 20th century, and it is still a main subject as Zeitgeist representing modern society. Accordingly, this study is to verify the role and importance of the stage costume according to change of the art trend in the present age by clarifying relations between the postmodernism and the stage costume, and analyzing the postmodernism trend shown in postmodern classes. The postmodernism trend in costume is summarized as the deconstructionism, eclecticism and the populism. Hereunder is the conclusion of applying Postmodernism characteristics and creation mechanism commonly existing in theater and costume to the costumes of Korean theaters since 1990's. First, a deconsructionism trend of the Korean theater was visualized by the expression method of disembodiment and decomposition of stage costumes. Second, expression phase of interculturalism was concretely visualized through the stage costume, and it was considered that the postmodernism creation method. Third, a populism trend since 1990's was reflected to the stage costume, and deduced consensus with the audience and subculture familiar with the public as well as appeared as a phenomenon that emphasized a recreational elements. It is analyzed that this trend is a result that a concept of sportiveness was directly transferred through strong visual expression function of the stage costume. As a result of analyzing a Korean theater of the postmodernism disposition since 1990s, the costume reflected creational will of the postmodernism of works and played an important role as visual arts, created with a similar method and form.