• Korean Association of Arts Management
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• no.60
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• pp.69-92
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• 2021

This study was designed to insist on the need of introducing the position of dramaturgs as professionals at performance venues. A dramaturg is a professional staff member that proposes an artistic orientation in the making process of performing arts works such as play and dance. Dramaturgs are divided into production dramaturgs participating in individual works and permanent dramaturgs resident in the theater. In the present study, discussions developed around plans to make use of permanent dramaturgs at local public theaters. The study introduced the advantages of the dramaturg position at culture and arts centers serving as a public theater in the community and proposed institutional improvement measures for it. At a culture and arts center, a dramaturg will play the roles of expanding culture and arts service to local residents, increasing creative chances for local artists, contribution to the vitalization of local culture, and narrowing the cultural gap between the Seoul metropolitan region and the rest of the nation. The introduction of a permanent dramaturg system should be supported by efforts across various aspects including the revision of Culture and Arts Promotion Act and Public Performance Act, improvement of the management system of culture and arts centers, change of performance evaluation methods for performance venues, and introduction of a cultivation course for the public sector.

• (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.