• Journal of Korean Theatre Studies Association
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• no.53
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• pp.31-56
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• 2014

If we define theatre as an infinite tower piled up by smoke, the strata of the organic composition of an actor's/actress' body-mind-spirit, may not only be complicatedly worked out, but it seems to belong to a non-scientific realm. However and at the same time, it is also true that the audience is eager to witness a certain kind of specific vitality from the actor/actress on stage. Of course the vitality is hard to be prescribed. Simply we call it a texture of energy, nuance of existence, or much simpler, an actor's/actress' 'aura'. That is, the existential nuance of the actor/actress. The nuance, which is surging from the actor's/actress' authentic presence, ultimately comes out of, not the circumstantial interpretation of the production but the power of its integration. We can find from the works of Meyerhold, Grotowsky and Barba the theatrical fact that the actor's aura can be obtained by a kind of artificiality rather than innate characteristics of existence. These directors commonly regard theatre as the actor's/actress' theatre. Respectively choosing his own specific methods of expression, they unexpectedly meet in a same spot in which actor's/actress' theatre can be realized by the rediscovery of the actor's/actress's body-form. In other words, their approaching methods to theatre look alike, at least in that abandoning reserving any natural, unconscious, economic body-form of an actor/actress, they rather try to discover a certain kind of 'technical' body-form. The form which is totally non/un-conscious, unfamiliar and non-economical. Their research process explores an ideal body-form, and this thesis focuses on this point. For this work, I bring the notion of 'liminality' that connotes the praxis for essential presence of the actor/actress as well as the incubating time and space nacessary for his/her rebirth. And for developing this work, I ask: Could not the actor's/actress' consciousness and the spatiotemporal dimensions (s)he meets, be possibly defined as the core of liminality, only in case that (s)he requires them in the process of, either exploring the unfamiliar body or familiarising with the unfamiliar body-form? As I mentioned above, the three frontiers' theatrical journey is similar in part. For example, three all start from the actor's/actress' consciousness and then go through the body enlarged with it. Then they continue their journey, but different from one another. Meyerhold still uses the conscious body. But now he transforms it into a kind of mobilized sculptures. In comparison with Meyerhold's use of the consciousness, Grotowsky puts his emphasis on an autonomous body which, if necessary, cast away even the innate consciousness. Likewise, to Barba, theatre always starts from the actor/actress who has already taken off all kinds of conventions. (Conventions should be re-designed!) The actor/actress therefore recreates him/herself as his/her body-mind wears a new, unfamiliar, readjusted form and vitality. And then this restructured body-mind may unceasingly aim at exploring its vitalized 'positive organism', that is the waves of self-centering energy, an existential nuance, and an authentic (or maybe behavioral) expressiveness. Now it seems clear that the liminal process for the frontiers' theatrical journey could be equalized as a profound process of self-penetration, self-transformation, and self-realization. This thesis explores the mystic realm of liminality.

• Fashion & Textile Research Journal
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• v.6 no.2
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• pp.153-162
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• 2004

Influenced by Constructivism Art, Constructivism theatre projected the future with the help of participating artists and the development of new technologies. Therefore, this thesis studied the stage costumes in the plays of Meyerhold who represented Constructivism Play and showed its characteristics. The stage costumes in Meyerhold's plays followed the rules of Constructivism Play and showed several unique characteristics, such as the Bio-mechanic as a characteristic in his plays, functionality that facilitated the movement based on Taylorism, simple shapes, and easy cutting. Constructive artists saw the stage of constructive plays as a laboratory where they can display their designs, directly portraying future life forms through stage costumes and props. Stage costumes were no more a supporting tool that had described the play. Following the new concept of stage costumes, working costumes and stage costumes came to be regarded as the same. In turn, this led to new models and special costumes such as sportswear or specialized garments. Constructivism artists foresaw the future through the plays, with their fundamental basis for stage costumes shown in the later works of ordinary costumes.

• Proceedings of the Korean Institute of IIIuminating and Electrical Installation Engineers Conference
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• 2009.05a
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• pp.224-229
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• 2009

A Study on the Stage Lighting Design by the Type of Performance Hall The purpose of this study is to inquire into the practice of lighting design which is changed by type of stage Proscenium Stage, Thrust Stage, Arena Stage, and Flexible Stage, which have originated from ancient Greek theatre and are still used in contemporary theatre. This studt takes a good at the practical application of lighting design to different types of stage, through which it is expected to improve the understanding of lighting as a part of performing arts and to develop the quality of stage arts. The way of lighting design by type of stage can be acstracted as the following. This is expected to be of a great help to stage arts as well as different lighting designs for each type of stage. The methodology of lighting design might have limits in its application to practice in the current war Id where theatre structures and lighting equipments are fast-developing and ever-changing. However, lighting design can develop based on the basic design concepts as the researches of all fields can develop by applying their basic theories.

• Korean Institute of Interior Design Journal
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• v.15 no.1 s.54
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• pp.47-54
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• 2006

Stages, in the theatrical spaces, were space, which incorporates aspects of cities. Hence, the stages have been constituted to materialize sequence of city, which has exact number, proportion and order of ideal city. In addition, it has accomplished change, which depends on type of performance with the social condition and culture of generation, city has. However, the original form of theatrical space were forgotten on account of the various changes of theatrical form with modem movement since the end of 19th century, and theatrical space, which does not relate with its space of city, was started to constitute. Particularly in contemporary society, the theatre can give vitality to the citizens, and also theatrical architecture as a commercial code has been a general form, though it takes important role, which improves cultural value with technical improvement of cities development of society. Thus, this study analyzed urbanity ,which theatres have incorporated historically, and deduced a correlativity from to be based on constitution of space in visual, perceptual, spatial constitution and functional role. Focused on published SPAC international competition, it was interpreted by contemporary focus, therefore, this experiment suggests constitution of theatrical spaces of information, takes urbanity, through to analyze visual, perceptual, spatial constitution and functional role in context of contemporary city.

• Journal of Practical Engineering Education
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• v.16 no.2
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• pp.251-257
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• 2024

After the pandemic, the world has brought about a society that connects to digital content faster. In the performing arts world, technology is also changing the production environment, content, and format of works. In addition, theatre and performances linked to digital media and virtual reality continue to be actively developed and increased. This paper first diagnoses how theater and acting education are meeting consumers(students) in a time when these changes progress rapidly. In the post-COVID-19 era, a crack began in the traditional method of education. We look at the existing problems of traditional education of theatre and acting in detail and look at the points of change from the changes in the virtual world and digital media environment. In conclusion, post-pandemic theater and acting education needs to shift to a consumer-centered paradigm.

• (The) Research of the performance art and culture
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• no.36
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• pp.649-691
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• 2018

A number of studies on the educational influence of drama and theatre have increased since the 1990s in South Korea. These days, more Korean researchers seem to have recognised the educational influence of drama and theatre than before. At this time, it is meaningful to look into how the domestic trend of studies has changed and developed over the past thirty years. This paper especially adopted a bibliometric method to analyse the trend by time of studies from the late 1990s to 2017. In addition, target age, research topic and research approach of each study were investigated. Some of terminologies particularly used in South Korea were also defined to help young researchers' understanding in this paper. In detail, the total number of studies for the last thirty years is 225 and the first domestic study on the educational power of drama and theatre was published in 1994. In the 2000s, there was quantitative expansion in terms of the number of studies and topics. Eventually pragmatic and integrated features of the studies were found in the 2010s. It is anticipated that the pragmatic and integrated features of the studies will be stimulated to fit into the need of the time. Until now, the most fevered research target age was mainly primary school students. However, it would be possible to widen a target age range in the future. It should be considered having collaboration among researchers who have different expertises for conducting higher quality studies.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.117-130
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• 2020

The Golden Dragon is a work that reminds us of the tragic illusion of globalization through the story of Asian workers' lives in Berlin, a strange city. Also, the post-epic nature of the play requires the audience to see it in a new way, more different than before. In Korea, there are theoretical studies on the post-epic theatre, but there is little research on specific acting approaches based on practical production process. Therefore, I first analyze the post-epic characteristics of The Golden Dragon in order to present specific acting approaches. As a result, it would be confirmed that body-centered acting approaches were required in the post-epic theatre to play more different roles than in the realism play. Thus, Laban movement Analysis(LMA) of Rudolf von Laban is applied so that internal impulses could be naturally induced through the utilization of the body. Of the four categories of motion(BESS), Laban seeks to look at the body-centered acting approaches through the effort. Finally, it must be confirmed through the actual production process that Laban's theory of motion could be used as a body-centered acting approach to creating the role of post-epic theatre.

• Proceedings of the Korea Fashion and Costume Design Association Conference
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• 2005.06a
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• pp.123-126
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• 2005

• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.112-114
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• 2010

Mainly through the pervasive emergence of portable devices (laptops, PDAs, now iPods), the screen arts, that is, the cinematic arts has suffered the loss of what constitutes the core of its existence: the theatre and theatre-audience. This paper discusses cinema's distinct place and significance in culture and its difference from television and other forms of mass media. The most pressing question at hand would be, "how do you bring back attention to the medium that is distinctly cinematic?" "How do you bring people back to the theatres?" This paper argues that cinema, and the film industry as a whole must push for a technological leap that is in conjunction with culture. With mentioning of the rapid development of 3D technologies in the moving images, this paper proposes that such technological novelties and innovation are necessary conditions for a new kind of film culture to emerge.

• Transactions of the Korean Society of Mechanical Engineers
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• v.2 no.3
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• pp.84-93
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• 1978

An acoustical rating for the occupied hall of our National Theatre is presented for symphony orchestra and opera by theoretical estimation of various acoustical qualities from the basis of measured reverberation times in its vacant stste. The result is that by serious poverty of liveness a romantic music, typical symphony orchestra and even classical music are very difficult to be performed and only a baroque music is scarcely allowable to be performed in this hall. As for opera, wagnerians are difficult and italians are performable to some extent. Some discussions are given for which defects are more serious in this hall and some possible accustical corrections are also suggested for its better performance.