• (The) Research of the performance art and culture
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• no.39
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• pp.167-196
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• 2019

Geugyesuryeonguhoe founded the Silheommudae and chose Nikolai Vasilevich Gogol's Revizor as the founding performance. This Revizor theater performance was a performance equivalent to the founding performance of the Geugyesuryeonguhoe, so it had to be based on the discussion and consensus of the members. Nevertheless, the reasons for selecting this work, the actual performance situation, and whether or not it was successful were not properly addressed in the research data so far. As a result, Revizor performance of Silheommudae did not escape the powerful influence of Revizor theater performance performed at Tsukiji(築地) theater in Japan. In addition, the original design of stage, acting and acting concept of Silheommudae was not confirmed. After this performance, the change of the performance method of Geugyesuryeonguhoe was inevitable. And Geugyesuryeonguhoe was forced to carry out its own reflection on the problems in the stage process.

• The Journal of the Korea Contents Association
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• v.22 no.9
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• pp.156-168
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• 2022

This study was conducted to investigate the staging principle, the staging work and the trial performance of Shingeuk troupe Geukyesulyeonguhoe during the period of coterie system, focusing on Gogol work·Ham Daehoon translation·Hong Haeseong directing's (5Act). As a result, the first trial performance was based on a faithful full-scale description rather than an interpretive directing of play. It was a performance that focused on copying and implanting the external form of the performance stage of Shingeki troupe Tsukiji Little Theater. The general review of the time was summarized to the point that it was a relatively successful performance that exceeded expectations as a trial demonstration of amateur actors. However, in terms of the content of play and the form of performance, reservations and lack of contemporary(modern) interpretation caused the problem that the general audience was alienated. Therefore, it was difficult to achieve the effect of reflecting the reality of Chosun through , as Geukyesulyeonguhoe intended.

• (The) Research of the performance art and culture
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• no.32
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• pp.549-594
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• 2016

This research focuses on 'dramaturgical' performance among all the acts of a director who constructs an artistic structure. This is, specifically, the dramaturgical acts that a director comes to perform in the process of dramatizing a novel. This paper aims to suggest a new kind of approach for productive interaction between drama theory and practice, not only by documenting the process of creation but also by moulding theoretical basis on acts of a director. As you all know, creative acts in practice so far have rarely been considered as subject and purpose of academic study. Even some lucky plays and directors had to settle for fragmentary review. That's mainly because Korean theatrical circles confine the way of recording the whole process of drama in practice only to a piecemeal review of performance. As a result, there have been very few cases of observing comtemporary plays under the historical background of drama. In this regard, this paper desires to raise a question, 'is productive interaction between drama theory and creative practice possible?' and to find the answer. If what is described in this paper can have worth beyond a mere record of creative acts, it may establish theoretical grounds on interpreting the play stage of this era by reading, in the contexts of drama history, a director's dramaturgical performing acts to dramatize a novel. The researcher of this paper, as a director of a theater troupe like a human and artistic community, adapted "Crime and Punishment" by Dostoevsky into four plays. They are , , , , and completed in 2009, 2011, 2012, and 2014, respectively as an independent theatric work having no connections to each other in story. Not only because the four plays share the same novel as its origin but also because an identical system is applied to dramatization of the novel, it gives an opportunity to focus on and perceive the role of the director. During the process of dramatiztion, the director, the researcher of this paper, carried all the duties, such as selecting a text, approaching the text theoretically and academically, adapting it for drama, picking out appropriate episodes. This paper defines all these acts as dramaturgical performing acts. In this sense, this paper can also be seen as a documentary of 'acts' performed during the process of dramatization.

• Korean Security Journal
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• no.45
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• pp.7-35
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• 2015

South Korea's socioeconomic status is high enough to support services for the protection of crime victims. Until now, the Ministry of Justice was the only institution to protect and support the victims, but recently the national police is included. This is considered preferable, since the police is the one to contact the victims first- they can provide immediate support after the incident. Several limits in current laws and crime protection system exist. Therefore, given the importance of protecting victims, model of public-private joint forms should be considered. In premise of establishing a new relationship between the public-private joint system of justice and the maintenance, the range of police's involvement with crime supports will be determined. In the case of developed countries, the police and private organizations maintain close cooperation, appearing as substantial care and support for crime victims. Therefore this study reviews the problems in crime victim protection, assistance from the police stage, and suggest the improvements as follows. The first is to redefine the role of the police who first contacted in the crime victims protection support, the second is to establish a permanent cooperation framework, such as victims specialized police, victims protection agency, the third is to develop services for victim protection available from the police stage, and the fourth, opening Victim Support Center functioning as a temporary accommodation or safety zone for the personal protection of victims. The fifth is to regularize solution conference for victims' protection, and the sixth is to divide of roles in state organization government in charge of victim's protection and local government responsible for victim's support.

• Science of Emotion and Sensibility
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• v.12 no.4
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• pp.557-564
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• 2009

For scoring polygraph charts, the Prosecutors' Office of the Republic of Korea uses a consistency criterion in which an elevated signal on one physiological channel is scored as a deceptive response only if the signal is also elevated on other channels. In the current study, the effects of this scoring criterion on reliability and accuracy (validity) of polygraph scores were assessed. Polygraph tests on 26 suspects were evaluated twice by the same examiners. The examiners used the consistency criterion in the first evaluation. In the second evaluation, the examiners were prevented from using the criterion; the signals from each physiological channel were separated and randomly arranged before they were rescored by the same examiner. Reliability was assessed by the variation among the scores for each suspect. Accuracy was assessed by establishing a standard, based on a Latent Class Analysis model, using the results of polygraph tests on each of 182 additional suspects. Reliability and accuracy were both improved by the use of the consistency criterion which therefore was recommended.