• (The) Research of the performance art and culture
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• no.33
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• pp.165-193
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• 2016

배구자는 1920~30년대 조선에서 큰 인기를 확보한 무용수이자 연극인이었다. 그녀는 배구자악극단을 창립하여 조선과 해외(일본)를 오가면서 공연을 펼쳤고, 대중들은 그녀의 작품을 보기 위해서 극장으로 몰려들었다. 그녀와 그녀의 극단이 인기를 확보하고 있을 무렵, 그러니까 1931년 배구자무용연구소는 '혁신 공연'을 선언하고 일련의 작품을 발표했다. 당시 공연 작품 중에는 가무극 <파계>가 포함되어 있었는데, 다행히 <파계>는 공연 대본으로 기록되어 현재까지 전해질 수 있었다. 남아 있는 가무극 <파계>를 통해, 배구자무용연구소(나아가서는 '배구자악극단')의 공연 전략과 레퍼토리의 실체를 파악할 수 있을 것으로 기대된다. 조선 근대연극(사)의 주요한 축을 담당한 배구자악극단에 대한 연구는, 일제강점기 조선의 대중극의 다양한 갈래와 그 특성에 대한 이해를 제고할 것으로 전망된다.

• The Journal of the Convergence on Culture Technology
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• v.5 no.3
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• pp.85-92
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• 2019

Yun Dong - ju's poetry and his representations are used in various visual and dramatic media. According to its medium and genre characteristics, Yoon Dong - ju's representations and his poems are selected and changed. It is also the process of reading what the text is trying to convey to the public through a single person. In this study, Yoon Dong - joo's poetry was compared with other poetry of poetry. Particularly, the discussion was focused on the creative actor . If the creative drama is transmitting the feelings of Yoon Dong-ju through the city, the film conveys the poem of Yoon Dong-ju. Gamuplays are more restrictive than the movies because of their genre. As a result, the emotional expressions of the characters are more intense, the progress of the narrative is also dramatic, and the aspect of Yun Dong - ju, a poem illuminated by the movie and the drama, also differs. If the film aims to portray poet Yoon Dong-ju as a genuine literary youth, the creative poet reinterprets Yun's poetry as having a meaning of resistance.

• Proceedings of the Korea Contents Association Conference
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• 2017.05a
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• pp.57-58
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• 2017

중국 경극에서 얼굴에 다양한 분장을 하는 것을 검보라 하며, 극 중에서는 다양한 상징성을 갖는다. 검보는 민족적 특색을 내재하며, 극중 캐릭터를 위한 "영혼의 화면"이라 불린다. 반면, 일본 노극은 가면을 쓰고 연기하는 독특한 고전 가무극으로 히타멘(直面, 가면을 쓰지 않음)과 가면을 쓰는 공연으로 나뉘며, '유현(幽玄)의 예술" 이라고 불린다. 이러한 경극의 검보와 노극의 가면은 애니메이션에 캐릭터에 차용되며, 극의 서사와 상징성을 드러내는 매개 역할을 하고 있다. 이에, 본 연구에서는 경극의 검보와 노극의 가면이 연출된 애니메이션 영화를 중심으로 사례 비교연구를 진행하고자 한다.

• (The) Research of the performance art and culture
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• no.18
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• pp.5-46
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• 2009

The origin of Korean mime is traceable to sacred actions of prehistoric age. There are materials about mime of this age in the archeological materials of this age, oral literature/myth, and written literature about this age. There were traces of the most original form of mime in primitive ritual of tribal nation age. The mimes of Samkooksidae/Tree Nation Age of Korea were presented to forms of Kamoobekhee(歌舞百戱)/Sanakbekhee(散樂百戱). We can discover traces of mime of this age in Hosunmoo(胡旋舞), Gwangsumoo(廣袖舞), Kweraehee(傀儡戱), Keeak(伎樂), Kummoo(劍舞) Muaemoo(無㝵舞), and so forth. Especially, Keeak in Beckjae was mask mime of Buddhistic contents. We can recognize that secular theatres were more diversified and strengthened than sacred thaetres in Nambukgooksidae/South-north Nation Age. According to these changes, there were many changes in the mime of this age. We can concretely find traditions of mime of this age in Cheryongkamoo(處容歌舞), Hwangchanmoo(黃倡舞), Taemyun(大面), Wuljen(月顚), Sodok(束毒)', Sanyae (狻猊), and so forth. Mimes of Koreasidae/Korea Age take diverse forms of puppet play, mask play, dance play. Established traditional mimes as Cheryongkamoo(處容歌舞) were widely disseminated in society. And dance plays of mime form as Hunsundo(獻仙桃), Pokurak(抛毬樂), Yunhwadae(蓮花臺)' were imported from Song Nation of China. Mime of Chosundidae/Chosun Age were developed with changes of theatre that were divided into Kyusickjeehee[規式之戲] as Kwangdae(廣大), Ser-in(西人), Joojil(注叱), Rongryung(弄鈴), Kendoo(斤頭) and Sohakjihee[笑謔之戱] as Soochuk(水尺) Sengkwangdae(僧廣大). Styles of theatre in this age were specialized into mudangkuk, Pungmoolkut, Inhyunguk/Puppet play, Talnoree/Mask paly, Pansori, Kungjoong Kamuakguk. According to this changes, mime of this age were specialized into diverse aspects. Korean mime were specialized into Kutnorum-formed mime, Inhyungnorum-formed mime, Jabsaeknorum-formed mime, Talnorum-formed mime, Kungjoongmuyong-formed mime, Pansori-formed mime, and so forth.

• (The) Research of the performance art and culture
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• no.38
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• pp.297-347
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• 2019

Jie Jie Hao Yin 『절절호음(節節好音)』 is a script collection produced during the Qianlong's ruling Period which had one of the most flourished period of Qing Dynasty's Palace Drama. This script collection is consisted of 86 scripts of 6 Festival Court Plays: New year's day (元旦), Lantern festival(上元), Yanjiu festival(燕九), Snow appreciation(賞雪), Day of Kitchen god worshipping(祀竈), New year's eve(除夕). These scripts are effective records to study the New Year's Eve Drama of Qianlong Period. Jie Jie Hao Yin carry out the performances not only through Kunqiang (崑腔), and Yiyang Tune (弋腔), but also through various types of entertaining performances such as dance, masque play, puppet show, and story telling. Most of the songs were sung by various gods praising the era of peace as the holiday approaches. In the contents of revealing the luck to be brought by the holidays, it sought for the colorful transformations of stages through adding humoristique short stories or various feast genres in between the performance. It also tries to seek for diversities of stages through active application of acrobatics. It also portrays folk customs from BaiYunGuan's temple fair, Yanjiu Festival in YanBin, the Lantern Fair of Lantern Festival, and various activities of wet markets from New Year's Eve from diverse points of views. Especially through various shows and Chinese folk-art forms, the popular folk activities and entertainments near Beijing in the beginning era of Qing Dynasty can be observed. Jie Jie Hao Yin is a very important resource to look at the popular art activities of Beijing during Qianlong Period, and how the Palace culture accepted the folk cultures and applied to its own advancements.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.211-219
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• 2021

Chinese Tibetan Opera is a highly comprehensive drama type, which combines the educational aesthetic characteristics of the realism of Western drama and the freehand of Chinese opera, including mask play, square play, ritual play and religious play. Tibetan opera, as a kind of local drama, has high research value, which is determined by its educational aesthetic characteristics. The world's three major dramas include Sanskrit dramas in India, tragic-comedies in ancient Greece and Chinese dramas, which have different forms of expression and educational aesthetic characteristics. Because of the particularity of its birthplace, Tibetan Opera inherits some of the three forms of the above three dramas. Ancient Greek tragedies originate from the sacrificial ritual of the god of wine. In the early ceremonial action performances, the actors were all men and needed to wear masks to perform. In Tibetan opera, men also play a role in masks, which are originated from the folk totem dance and religious pantomime music and dance. Due to the long history of Indian Sanskrit drama, except for the relevant records in dance theory, the specific performance form can not be verified. However, according to the relevant records in dance theory, the three characters "Wenba", "Jialu" and "Lamu" in the opening play of Tibetan opera are similar to the "concept character play" in Sanskrit opera. Tibetan Opera is a very important part of traditional Chinese opera, which inherits the educational aesthetic characteristics of Chinese opera.