• Cartoon and Animation Studies
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• s.36
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• pp.147-165
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• 2014

Around the turn of 21st century, there has been a major technological shift in the animation industry. With development of reality-based computer graphics, major American animation studios replaced hand-drawn method with the new 3D computer graphics. Traditional animation was known for its simplified shapes such as circles and triangle that makes characters' movements distinctive from non-animated feature films. Computer-generated animation has largely replaced it, but is under continuous criticism that automated movements and reality-like graphics devaluate the aesthetics of animation. Although hand-drawn animation is still produced, 3D computer graphics have taken commercial lead and there has been many changes to acting of animated characters, which calls for detailed investigation. Firstly, the changes in acting of 3D characters can be traced from looking at human-like rigging method that mimics humanistic moving mechanism. Also, if hair and clothing was part of hand-drawn characters' acting, it has now been hidden inside mathematical simulation of 3D graphics, leaving only the body to be used in acting. Secondly, looking at "Stretch and Squash" method, which represents the distinctive movements of animation, through the lens of media, a paradox arises. Hand-drawn animation are produced frame-by-frame, and a subtle change would make animated frames shiver. This slight shivering acts as an aesthetic distinction of animated feature films, but can also require exaggerated movements to hide the shivering. On the contrary, acting of 3D animation make use of calculated movements that may seem exaggerated compared to human acting, but seem much more moderate and static compared to hand-drawn acting. Moreover, 3D computer graphics add the third dimension that allows more intuitive movements - maybe animators no longer need fine drawing skills; what they now need is directing skills to animate characters in 3D space intuitively. On the assumption that technological advancement and change of artistic expressionism are inseparable, this paper compares acting of 3D animation studio Pixar and classical drawing studio Disney to investigate character acting style and movements.

• (The) Research of the performance art and culture
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• no.20
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• pp.31-61
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• 2010

This thesis proposes to explore the theatre aesthetics of North-Korea during after the Liberation. From now South-Korean theorists have provided the theatre aesthetics of North-Korea to South-Korea, so we can say that it lacks of an equity. For example, South-theorists have said that North-Korean theatre only emphasized politics and propaganda, they have had not any aesthetics in performance. So this study focused on North-Korean critics and records for fairness and as a result something new is founded. The best theatres in North-Korea were some works which contains natural and proper lines to character, well-expressed inner desires of characters, realistic acting and stage design, and realistic life of working class. Of course they should reflect communist ideology and policy, but more important is that it did not mean everything in North-Korea. So we can say that it is fact that North-Korea should reflect their policy, which does not mean lack of aesthetics of performance. North-Korea had an obvious point of view for theatre, and they made an effort to realistic lines, movements and stage. During right after the Liberation, North Korea sought to find an answer for 'realization of true life', and sought to eliminate Japanese acting style in theatre. Concluded theatre aesthetics of North-Korea during right after the Liberation is realistic acting and directing style.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.14 no.5
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• pp.127-139
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• 2019

The purpose of this study is to analyze the effects of emotional labor on job stress using emotional dissonance as a mediator. Emotional labor is classified into the deep acting and the surface acting, and job stress is classified into sub - variables of the lack of reward and the relationship conflict. We conducted an empirical analysis of 400 questionnaires collected mainly from actors living in Seoul and Gyeonggi provinces. The results of the analysis using SPSS v22.0 and Process macro v3.0 showed that only the surface acting had a significant effect on the lack of reward, and both the deep acting and the surface acting had significant effects on relationship conflict. Second, only the surface acting had a significant effect on emotional dissonance. Third, it has been shown that emotional dissonance has a significant positive effect on both the lack of reward and the relationship conflict. Fourth, the indirect effect of the surface acting on the job stress through mediating emotional dissonance was significant. Subsequent studies will likely require studies to find other mediators other than emotional dissonance or to analyze moderated mediation effect by introducing moderators.

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

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.373-387
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• 2020

This study examined the concept and essence of archetype theories of Johann Wolfgang von Goethe, Rudolf Steiner and Carl Gustav Jung, which theatrically influenced Michael Chekhov. It analyzed how archetype theories were applied in Chekhov's Psychological Gesture and tried to fundamentally understand Chekhov's Psychological Gesture that embraced archetype theories. The concept of archetype repeatedly appears in Chekhov's Psychological Gesture. Chekhov stated that archetype exists in the inner psychology or instinct of the actors and he defined the Psychological Gesture as an archetypal gesture. While exploring references regarding archetype in Chekhov's Psychological Gesture, this study found that it is closely related to archetype theories. Therefore this study thoroughly analyzed Goethe's archetype theory(archetypal plant), Steiner's archetype theory(4 temperament archetypes, 7 human's soul archetypes), Jung's archetype theory(collective unconscious and 4 archetypes, 12 personality archetypes) and it confirmed that archetype theories had a significant influence on Chekhov's Archetype Theory and Psychological Gesture. Goethe and Steiner's archetype theories, Eurythmy are applied to theater education and actor's acting. Likewise, Jung's archetype theory is also adopted theatrical studies and theatrical psychotherapy. The author believes that Chekhov's Archetype Theory and Psychological Gesture influenced by archetype theories will significantly help an actor analyze characters in the play and portray them in creative acting.

• Journal of Industrial Convergence
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• v.20 no.12
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• pp.49-57
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• 2022

This study was conducted to investigate the relationship between self-esteem, self-awareness, and empathy and to identify factors that influence empathy among 302 nursing students from a university in C city from March to May 2021. The collected data were subjected to t-test, ANOVA, correlation and multiple regression analysis. As a result of the study, empathy was 3.59 points out of 5, and gender and nursing department satisfaction were significantly different from empathy. The factors that had a significant effect on empathy were private self-awareness, public self-awareness, positive self-esteem, and gender, with the explanatory power of 22.9%. In order to increase the level of self-esteem, self-awareness and empathy for nursing students, it is necessary to establish a new curriculum that examines interest in their inner world. Development of various curriculum programs such as team classes that help promote interaction using small groups and role-playing classes that explore and experience one's own or others' thoughts and emotions are suggested.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.127-139
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• 2021

This study is intended to review the poetic directing created by the aesthetics of silence of Claude Régy, a French director who carries out playwriting in silence, departing from conventions through the concept of "potentiality" proposed by Giorgio Agamben, an italian philosopher. Claude Régy stated, "What's fundamentally important is not to say what you want to say." Thus he tries to create the stage of "silence" rendered in overly slow, excessively segmented dialogues while selecting restrained minimal means. Agamben makes Bartleby who "prefers not to" as a cardinal model of his perfect potentiality, asserting that the nature of potentiality is revealed in the pause of actuality. As in Agamben's philosophy, Claude Régy's directing is also the "pause" of words and actions. This silence is not a return to actuality but a creation of the moment at which "the invisible" become visible. The silence of words or the silence of an empty stage with dim lighting is viewed by Agamben as potentiality that has "underlying passivity" and is "hospitable to non-existnece". In this light, this study is to create another direction for the theater arts of our time and the 21^st century and to extend the horizon of new directional modes. It aldo reviews the concept of Agamben's "potentiality" that provides critical viewpoints to "the artist without content", works directed by Claude Régy who has created his own distinctive styles of direction with the aesthetics of "slowness" and "silence", L'intérieur by Maurice Maeterlinck and Quel'un va venir By Jon Fosse.

• The Journal of the Korea Contents Association
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• v.14 no.3
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• pp.103-112
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• 2014

Oh, hein-kuhn is a representative portrait photographer in Korea. His works, , , , which treated portraits of women are a bit different from those of the past that described the appearance of characters. The artist expressed the figure of inner side that conflicts and feels uneasy between 'family and society' and 'child and woman' along with the look of character. That is, he included specific aura which the whole of aunts and girls' group radiates by showing similar photos repeatedly, that we can be aware of 'aunt' and 'girl' by seeing them. The important technique of Oh, hein-kuhn's Portrait Photograph is 'repetition' of image. The artist delivers the meaning of the photo by looking at the character upright in the front and showing photos with similar frame repeatedly. Such form and content of the work as this might feel a bit boring, since it's very simple just like identification picture. However, the photos in the frames which do not move in the fixed position can deliver the meaning of work more clearly rather than the image which expresses flowing time and moving space, we can grasp the message that the artist intends to deliver rather quickly. In the environment of photograph production mainly with image transformation, Oh, hein-kuhn's works of authentic original work method definitely stand forth. Through the portraits of aunts and girls, the artist tells an aspect of our society and we reconfirm the reality through the portraits made by him.