• Journal of Korea Entertainment Industry Association
• /
• v.13 no.4
• /
• pp.157-164
• /
• 2019

If a drama play is interested in recreating the play text on stage, the post-drama play aims at a drama that has been liberated from the play text. In this process, the boundaries created by drama theater are dismantled. Actors and audiences, fiction and reality, theater and non-theater, works and events, language and non-language are the names of typical boundaries. The demolition of these boundaries is an opportunity to restore the festival character of ancient Greek theater, which was forgotten by drama theater. This has led to the dismantling of language-centric and play-centricism, which has dominated the play since Aristotle, and has led to a new play. If language-centered, play-centricism has brought about the crisis of drama, the post-dramatic play dismisses them and finds ways to communicate with the audience as new cultural content. The method is found above all in the restoration of dramaturgy. This is because the post-drama plays are more dependent on theatricality than literature. The demilitarized nature of post-dramatic play with enhanced theatricality will be a stepping stone to popularization, and this shows the possibility of post-dramatic play as cultural contents.

• (The) Research of the performance art and culture
• /
• no.38
• /
• pp.5-31
• /
• 2019

This article aims to examine the concept and historical background of Applied Theatre and its major characteristics as a newly emerging theatrical practice in recent years. With these aims, the article chronicles the history of how Applied Theatre has developed and formed as an overarching umbrella term that encompasses different theatrical praxis. Given the ambiguity and confusion of this practice, the article argues the importance of recognizing the Applied Theatre's shifting paradigm of subject and object, a crucial element in understanding the practice. Further discussed is the exploration of 'community' in regards to comparing the similarities and differences among Applied Theatre, Community Theatre, and Community-based Performance. The article concludes that the essential comprehension of Applied Theatre's uniqueness comes from noticing and perceiving the paradigm shift that places participants and community as a subject of theatrical transaction rather than as an object, as traditional theatre has done so far.

• Proceedings of the Costume Culture Conference
• /
• 2004.04a
• /
• pp.40-43
• /
• 2004

연극은 인류와 함께 시작되어 인류의 생활과 밀접한 관계를 맺어왔으며 인류의 생활을 재현하거나 인류의 바람을 표현하는 과정에서 시간과 공간을 아우르는 종합예술로 성장하였다. 세계 희극 예술의 근간이 된 3대 주류로는 그리스의 비극과 희극, 인도의 범극, 중국의 희곡을 들 수 있는데 이는 세계 연극 형성에 큰 영향을 끼쳤다. ‘희곡(戱曲)’은 중국의 전통 연극을 일컫는 독특한 용어이다. (중략)

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.6
• /
• pp.221-233
• /
• 2019

The purpose of this study tries to show the effectiveness of integrated theater education for low-grade students who lack social skills with the direction of art education based on 'theatrical and educational theater' and 'theater therapy' in the revised curriculum in 2015. To do this, the researcher organized a theater camp organized by the social, cultural and arts education institute in Seoul for a total of 12 low-grade elementary school students for four weeks, and had a presentation session. In addition, the researcher observed the behavioral changes of the participating children to verify the social development of the theater education and after the conclusion, the final results were obtained through the in-depth interviews of the participants' parents and teachers. As a result, it was found that Social Skills Rating System(SSRS)' test, teachers' observation logs, interviews, and responses of participating children, which are the main subjects of this activity, had a great effect on improving their sociality and relationship. Therefore, the researcher tried to prove through this paper that theater education is effective in enhancing social skills as creative, personality and convergence education in preparation for the 4th industrial era and that it is important to solve communication problems such as the absence of human relationships.

• Proceedings of the Korea Contents Association Conference
• /
• 2017.05a
• /
• pp.329-330
• /
• 2017

본 연구는 낭만주의 화가 프란시스코 고야의 작품 <아들을 먹어치우는 사투르누스>의 영감을 토대로 춤연극 를 제작하였다. 따라서 제작과정에 나타난 움직임의 상징적 의미와 언어적 소통의 다섯 가지 분석을 시도하였다. 연구결과 첫째, 표현주의를 대표하는 고야의 작품 <아들을 먹어치우는 사투르누스>에 나타난 공포와 괴기 속에 드러난 소통과 상징성은 움직임의 표현적 이미지에 하나의 'signal'적(的) 소통으로 직결되었다. 둘째, 프란시스코 고야가 나타낸 인간의 잔인성, 참혹함이 춤연극 제작을 통해 다른 의미로의 해석이 가능했다. 이것은 움직임 상징성과 역동적 에너지가 갖는 의미와 해석의 다양성으로 인식된다. 셋째, 정적이미지의 그림요소와 색채가 갖는 상징성은 춤연극의 언어적 유희와 움직임의 다섯 가지 상징적 이미지 체계로 정리되었다.

• The Journal of the Korea Contents Association
• /
• v.15 no.11
• /
• pp.27-40
• /
• 2015

Live cinema theatre is the latest installment of multimedia show where the filming of the performance of dramatic texts becomes the live stage event. Here, the actors perform before the camera and all the audio-visual effects are produced and constructed live. Mediated through the camera and projection screen, the stage image becomes a real-time production situation where all the scenes are put together right in front of a live audience. The very concept of live cinema as dramatic theatre has been developed by English stage director Katie Mitchell who attempts to present the stage as a cohesive representation system; this is more than a provisional experimentation where the ever-changing notion of in-betweenness is constantly tested. It is rather a predetermined operational system where the relationship between cinema and theatre is governed by the logic of synchrony, therefore maintain their own individual institutional reality. Here, the presence of camera has an effect not only on the organization of stage but also an affect on how human body exists within the situation.

• The Journal of the Korea Contents Association
• /
• v.21 no.12
• /
• pp.842-854
• /
• 2021

Performing industries in Korea and abroad have been attempting a wide range of artistic experiments utilizing online platforms ever since the Covid-19 pandemic. Accordingly, this study will shed light on the functional characteristics of Zoom, which was used as a creative tool for theater performances. At first, after examining theater performances presented in Korea and abroad using Zoom and their characteristics, the production stage of the Zoom play will be analyzed by dividing it into following stages; a research-based pre-production stage, a scene workshop stage that composes each scene based on the script, a recording stage filming each scene on Zoom, and Streaming stage for presenting the show. Furthermore, the actor's approaches to acting in this production process was presumed to be separation of gaze, re-recognition of space, utilization of expressive gestures, and reaction as an active action. As a result, it proposes the possibility of ongoing development of theatrical work using Zoom and the evolutionary aspect of actor's acting approaches in accordance with theatrical work via Zoom.

• The Korean Journal of Archival Studies
• /
• no.20
• /
• pp.115-150
• /
• 2009

Theater is a performing art with a volatile feature which exists when it is performed on the stage by actors and disappears when it is finished. Due to its intangible characteristic It is not only impossible to just hand it down but also there is a high possibility that materials which have been produced during the preparations of performance might be lost If it was not been properly taken care. The study which has been conducted from the existing such a problem, understand produceable records, the point where the records can be produced and the main body who is in charge of the production process by analysing performing process of theater and also propose the general method of documentation of theater by introducing the method of collecting each records. Such an introduction of method would help to progress acquisition activity by setting-up documentation planning at the stage of planning theater beforehand, rather than just help to gather the corresponding records after the performance is finished.

• The Korean Publising Journal, Monthly
• /
• s.94
• /
• pp.11-11
• /
• 1991

김문환은 연극평론을 포함하여 모든 평론은 기술.해석.평가의 과정을 총괄하는 것이라고 규정하고 그러한 규정을 공연평에 적용하려 한다. 그의 공연평의 또하나의 특징은 무대상의 공연을 평할 때 가능한 한 그것의 대본과 프로그램을 읽고 참고하고 있는 점이다.

• The Journal of the Korea Contents Association
• /
• v.16 no.6
• /
• pp.114-122
• /
• 2016

For the correct settlement of 'drama' subject mentioned as a new art subject within school education of Korea, this paper deals with the relevant contents by using German drama education equipped with the systematic educational system in the world as an objective model. First, analyzing the historical correlations between German school and drama education, this paper refers to the settlement process of drama education in German school after the enforcement of educational reform policy in Germany of 2009, and also the direction and characteristics of drama class. Such a research background contains the objectives to directly/indirectly verify the suitability of drama education for the suggestion of convergence(integrated) education and increase of creativity required for the current Korean school education, and also to be helpful to the establishment of institutional directions for Korean culture & art education in the future.