• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.139-155
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• 2019

The Plays of Kang Yang Won and the Theatre Troupe Dong don't aim to use the body as a system of sign in order to express the mind. They want to show the physical presence of an actor which induces sensuous perception of audience, so the possibility of the aesthetics of performativity can be open. Therefore, the properties of body sound and space have important meaning. At the same moment the body of audience has to be open to the perception. It means that the audience has to be ready to perceive the energy breathing density and tension etc. which the body of actor causes. As a result, the audience experiences a simultaneous opening of consciousness and perception: simultaneous opening of consciousness and perception gives the chance of receiving the emergent meaning.

• Journal of Korean Association for Spatial Structures
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• v.11 no.3
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• pp.105-113
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• 2011

The purpose of this paper is to provide a suggestion regarding how to make systematically improve the evacuation facilities of the cinema which is a large indoor space and utilizing by a numerous people. For the first, as a method of study, an analyzed on researching documentary recorders which are concerned with building codes regarding the evacuation facilities of cinema is made, and Secondary, carried out a survey of questionnaire for finding what the most audiences' idea regarding evacuation facilities of the cinema while they are utilizing the facilities, and analyzed the information. In the focus of the users, the result of analyzation reveals that as the item of practical facilities such as width and number of exit ways from viewer seats, width of corridors are highly suggested to improve practical system.

• The Journal of the Korea Contents Association
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• v.16 no.12
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• pp.233-243
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• 2016

The movie offers a chance to observe the social signifier and the sensitivity of audiences who feel sympathy with the tragic history of crown prince Sado. While watching the movie, the audience halts between ideas whether to go back to "primary ego", or to play the unconscious hypocrisy or the ingrained social behavior which is to resolve the internal conflicts while they face two contrary opinions; one is the obedient subject to obey fatherness, as a symbol of historic value and convention in a society, and the other is the resistant body to break the bond of convention. The audience may feel some ambivalent feelings of the moral values between the paternal authority and the existential philosophical value of 'self'. This study will observe the audience's response of Sado toward the moral norms of the society when they face the signifier of father in the movie with experience the conflict between their resistant ego and madness. Also the study will discuss that the social landscape such as norms, order, and legal system is ever-changing and open to be subverted by the future even though audience hope that the present moral value with which we are content ever-last.

• The Journal of the Korea Contents Association
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• v.18 no.2
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• pp.652-660
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• 2018

The common point between and is that the immersion was high at the point where all the place movements occurred in the narrative before the full-blown incident occurred. The immersion level showed the maximum at the turning point that passed to the place. Seven key events occur, and the audience's immersion is peaking at the time of each incident. The core event and the immersion are highly correlated. It is at a point where the background, such as movement from the third act, where the most central event is solved, or return to the original place, is changing. The immersion degree of the audience is closely related to the narrative from the first film to the third film of the narrative.

• The Journal of the Korea Contents Association
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• v.12 no.9
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• pp.106-115
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• 2012

This paper focuses on the systematic conceptualization of the 'contents' through the differentiation between the meanings of the work of art and the contents. The 'contents' are referred to as various media products, but they are all the audience-oriented work of art. From the beginning of its birth the film medium turned out to be a kind of contents, which is involved in the specific role of audience. It also implies that the film medium could not exist without the interaction of the media text and audience. In order to understand this context, this paper analyzes the film of Alfred Hitchcock.

• 지역과문화
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• v.7 no.3
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• pp.23-48
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• 2020

Hahoebyeolsingut Talnori, which is under permanent performance, has lost its relevance to folklore and rituals of the villagers and has secured the possibility of change depending on the actor's choice. This article seeks to expand the current stuck performance of Hahoe mask play, which has great significance as a play and play for the audience. To this end, We studied the possibility of expanding the performance of Hahoe Talnori by trans-identity of the Choragi. Chorangi character derides yangban, seonbi and monk, who are representatives of the establishment. Those who have a consciousness of potential transformation, those who passively represent the masses, and those who are tacitly authorized by the audience to ridicule the ruling class. The audience feels exhilarated by the super-cool, but at the same time reduces the limits. We transformed Chorangi who is clever but cannot overcome the limits of his status, into a character with a sense of transformation by applying the method of turnning identity and changing identity of the theory of trans-identity. And I applied the method of expansion of the media conversion storytelling theory to create a new Chorangi Madang that conforms to the audience's needs and the spirit of the times. In addition to the performance of Yangban Seonbi Madang(Act of Nobleman and Scholar) which ends with an ambiguous reconciliation, we wanted to complete it in a way that even today's audiences could accept by applying the function of the Hahoebyeolsingut Talnori ambassador and the principle of implementation. And We writed it in a script. This article is meant to be an experimental study that attempted to transform traditional performing arts in the context of new creation of tradition. Preservation and transmission of traditional performing arts are important, but it is necessary to move forward according to the trend and spirit of the times.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.307-322
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• 2020

The acting of physical action of the director Kang Yang Won's plays is mostly simple and repetitive. This acting induces the audience to sensuous perception and certain corporal emotions. In addition to semiotic meaning of dialogue a stimulus is given directly to sense of the audience. Therefore, the audience participate in creating a performative space with assistance of atmosphere. So, the feedback-loop of autopoiesis is made and the emergence of meaning is experienced due to felt perception. This emergent meaning springs unexpectedly by imagination, remembrance, and association etc. and is not produced on purpose. In addition, the audience participates in the performance together by the intersection of the perception for representation and perception for presence, and is especially affected by the presence of acting of physical action. In this paper, the study of four major performances of the theatre troupe Dong performed since the 2010s confirmed not only the individuality of each performance, but also the commonality that encompasses the entire performances. This led to discovering the discrimination power of the aesthetics of theater of the director Kang Yang Won and the theatre troupe Dong.

• Monthly Duck's Village
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• s.88
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• pp.100-101
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• 2010

경기도 안성시내 강변공원에서는 '남사당 짱! 바우덕이 짱!'이라는 주제로 '2010안성남사당 바우덕이축제'가 열렸다. 올해 바우덕이 축제는 9월 6일, 전야제인 곰뱅이트기 의식을 시작으로 12일까지 6일간에 거쳐 개최됐다. 축제의 꽃이라 할 수 있는 남사당 6마당놀이와 아이를 동반한 가족이 함께 배울 수 있도록 몸으로 배우는 풍물놀이, 줄타기 체험 및 악기 강습, 살판, 탈놀음 등으로 구성된 멋진 공연은 관객들에게 뜨거운 환호를 받았다. 또한 조선시대 옛날장터를 재현하여 체험, 교육장소로 제공했으며 1,500명 이상의 풍물인이 참여하는 '바우덕이 전국 풍물 경연대회'등 축제기간 내내 200개가 넘는 이벤트가 펼쳐졌다.

• Journal of Korea Multimedia Society
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• v.13 no.11
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• pp.1706-1714
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• 2010

Identity is established by the interaction of consciousness and unconsciousness. The desire of the identity continuously gets generated and changes through this process. However, the conscious identity does not identify the clear substance of the desire. The reason is that the pure desire of unconsciousness has nothing to do with the order of 'The Symbolic', which is the area of language and law, and it only pursues the pure desire. The desire of unconsciousness, which had been examined by the consciousness and superego and subsequently got rejected in 'The Symbolic', can produce endless desire on the stage of fantasy called film, exposing the gap of The Real. This research analyzes the psychoanalytic communication between film and audience by way of the films, in which the desire is conceived by the cause of the desire 'object A', the identities pursuing the desire and the dialectic reproducing process of another desire are symbolically exposed and realized.

• Archives of design research
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• v.18 no.2 s.60
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• pp.37-46
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• 2005

Today's advertisement is dominated by visual images, which deliver messages in the most efficient and engaging way. Vivid and live images, through multimedia, attract the viewer to consume the products being advertised. In this course, the effect of 'Verfremdung' or alienation is often detected. This terminology was at first used in a epic play of Bertolt Brecht to signify a specific effect to block the empathy of the audience by reminding them of their position as the audience separate from the play. 'Verfremdung' helps them to have a sense of objectivity and critical attitude toward the performance. Multimedia commercials nowadays exhibit such a quality together with 'viewer participation:' criticism on reality: and 'speed.' In an advertisement for Shinsegi Communications' mobile system titled <017-I-Touch series, the hand transformed into a web>, the copy, 'my blood type is 'i', ' is accompanied by six unrelated fictitious scenes in which the same ocean appears as a common denominator. Because there is no connection between the scenes, free imagination of the viewer has to be involved and thus plays a significant role in making them into a context. This fact dearly exhibit some characteristics of post- modern advertisement. Momentary 'Gap' and 'Difference' between scenes contribute to 'Verfremdung' or alienation' that makes it hard for the consumers to comprehend the content on the spot. Such an uneasy situation, however, keeps the viewers thinking about the advertisement itself. While repeatedly exposed to the alienated images, the viewers come to get involved in the advertisement, trying to make the fragmented images into a coherent context. In addition, the leaps between the scenes produce a sense of 'speed' in a context, which adds more impact to the way of delivering messages using multimedia. With the help of multimedia, 'Verfremdung: which was originally intended to bring about objective and critical altitude of the audience in a play, plays a crucial role in attracting the viewer's attention and conveying a specific message in a moment in contemporary advertisement.