• (The) Research of the performance art and culture
• /
• no.19
• /
• pp.191-220
• /
• 2009

The aesthetics of Korean pantomimic mask-dance-drama is studied in this thesis. The scripts of the pantomimic mask-dance-drama were recorded generally, explanatorily and interpretively. The emotion and psychology are expressed by the look and body language. The mimic expression of the pantomimic mask-dance-drama was analyzed intensively. The speech drama is richer and deeper than the pantomimic mask-dance-drama at the aspect of the power of expression.

• (The) Research of the performance art and culture
• /
• no.18
• /
• pp.171-199
• /
• 2009

This paper started with my effort to find connections between Empty Hands, which was put on the stage at the Mime House in Chuncheon, Gangwon Province, and Jindo Ssitgimgut. The mimist Yu Jin-gyu(58) adopted so many elements from Jindo Ssitgimgut for his performance that I felt that it was the pantomime version of Jindo Ssitgimgut. Of course, the pantomime took the form of gut based on shamanism in terms of story. Watching the pantomime, I once again saw the possibility of developing Korea's cultural archetypes into cultural contents. Helen Lannaghan, the art director of London International Mime Festival of 2005, saw his performance at the conference of Chuncheon International Mime Festival and invited it to the London International Mime Festival praising that it's full of Korean elements, minimalist, and modern at the same time. In fact, Empty Hands, which boasts great harmony among the Korean objet, Oriental thoughts, Samulnori, and Western contemporary mime, was invited to many foreign festivals including the Mimos International Mime Festival in 2000, Polish International Mime Festival in 2001, Mongol's International Mime Festival in 2002, and Belgium's International Mime Festival in 2003. In addition, it's recognized for its artistic values and had a chance to shine in another international setting at the London International Mime Festival whose reputations have been worldwide. All those achievements are the result of Yu's constant effort to reflect Korean elements through his movements. What I saw in his pantomime was the possibility that plays based on Korea's cultural archetypes such as Jindo Ssitgimgut could play an important role as a global content of performance culture. Pursuing the possibility further, I analyzed the factors that brought the worldwide recognition to Empty Hands and searched for the ways to create solid storytelling with Jindo Ssitgimgut and make a huge hit on the international stage. It should be noted once more that the pantomime Empty Hands launched Korea's unique performance culture to the world stage by making great use of the traditional Korean cultural contents.

• Korean Journal of Child Studies
• /
• v.32 no.2
• /
• pp.123-148
• /
• 2011

The purpose of this study was to explore children's experiences in a series of creative drama activities based around the use of picture books. The subjects were a total of 17 children 4 years of age. The research, implemented over the courses of 10 weeks, was integrated into their daily education curriculum. The children's drama activities were collected by participant observation, field notes, audio and videotape transcriptions, documentation of the young children's drama activities (eg. pantomimes, role plays & improvised expression, improvisations). The analysis reveals the following findings : 1) even shy and passive young children tried to participate in pantomime activities after reading books. 2) In role play & improvised expression activities, young children were immersed in the improvised situation and spontaneously expressed their emotions and thoughts as actors without the use of any scripts, in an impromptu manner. 3) In improvisation, young children collaborated with other children to create the improvisation by extending or transforming the content of the picture books through their own ideas.

• Journal of Korea Entertainment Industry Association
• /
• v.15 no.3
• /
• pp.211-219
• /
• 2021

Chinese Tibetan Opera is a highly comprehensive drama type, which combines the educational aesthetic characteristics of the realism of Western drama and the freehand of Chinese opera, including mask play, square play, ritual play and religious play. Tibetan opera, as a kind of local drama, has high research value, which is determined by its educational aesthetic characteristics. The world's three major dramas include Sanskrit dramas in India, tragic-comedies in ancient Greece and Chinese dramas, which have different forms of expression and educational aesthetic characteristics. Because of the particularity of its birthplace, Tibetan Opera inherits some of the three forms of the above three dramas. Ancient Greek tragedies originate from the sacrificial ritual of the god of wine. In the early ceremonial action performances, the actors were all men and needed to wear masks to perform. In Tibetan opera, men also play a role in masks, which are originated from the folk totem dance and religious pantomime music and dance. Due to the long history of Indian Sanskrit drama, except for the relevant records in dance theory, the specific performance form can not be verified. However, according to the relevant records in dance theory, the three characters "Wenba", "Jialu" and "Lamu" in the opening play of Tibetan opera are similar to the "concept character play" in Sanskrit opera. Tibetan Opera is a very important part of traditional Chinese opera, which inherits the educational aesthetic characteristics of Chinese opera.

• (The) Research of the performance art and culture
• /
• no.18
• /
• pp.5-46
• /
• 2009

The origin of Korean mime is traceable to sacred actions of prehistoric age. There are materials about mime of this age in the archeological materials of this age, oral literature/myth, and written literature about this age. There were traces of the most original form of mime in primitive ritual of tribal nation age. The mimes of Samkooksidae/Tree Nation Age of Korea were presented to forms of Kamoobekhee(歌舞百戱)/Sanakbekhee(散樂百戱). We can discover traces of mime of this age in Hosunmoo(胡旋舞), Gwangsumoo(廣袖舞), Kweraehee(傀儡戱), Keeak(伎樂), Kummoo(劍舞) Muaemoo(無㝵舞), and so forth. Especially, Keeak in Beckjae was mask mime of Buddhistic contents. We can recognize that secular theatres were more diversified and strengthened than sacred thaetres in Nambukgooksidae/South-north Nation Age. According to these changes, there were many changes in the mime of this age. We can concretely find traditions of mime of this age in Cheryongkamoo(處容歌舞), Hwangchanmoo(黃倡舞), Taemyun(大面), Wuljen(月顚), Sodok(束毒)', Sanyae (狻猊), and so forth. Mimes of Koreasidae/Korea Age take diverse forms of puppet play, mask play, dance play. Established traditional mimes as Cheryongkamoo(處容歌舞) were widely disseminated in society. And dance plays of mime form as Hunsundo(獻仙桃), Pokurak(抛毬樂), Yunhwadae(蓮花臺)' were imported from Song Nation of China. Mime of Chosundidae/Chosun Age were developed with changes of theatre that were divided into Kyusickjeehee[規式之戲] as Kwangdae(廣大), Ser-in(西人), Joojil(注叱), Rongryung(弄鈴), Kendoo(斤頭) and Sohakjihee[笑謔之戱] as Soochuk(水尺) Sengkwangdae(僧廣大). Styles of theatre in this age were specialized into mudangkuk, Pungmoolkut, Inhyunguk/Puppet play, Talnoree/Mask paly, Pansori, Kungjoong Kamuakguk. According to this changes, mime of this age were specialized into diverse aspects. Korean mime were specialized into Kutnorum-formed mime, Inhyungnorum-formed mime, Jabsaeknorum-formed mime, Talnorum-formed mime, Kungjoongmuyong-formed mime, Pansori-formed mime, and so forth.

• (The) Research of the performance art and culture
• /
• no.18
• /
• pp.73-100
• /
• 2009

This article is considered how to utilize mime in the mudang gut. Actually, mime can't be the crux of mudang gut, and the only factors of mime is utilized. Therefore, the purpose of this article is to draw another nets of meanings in Mudang gut, not to study mime. First of all, I surveyed the constituent factors of mudang gut. One gutpan is combined with various factors. As a shamans(mudang), a musician, a jang gu player, a gongyangju(taking charge of food), a sibongja(helper for a shaman), and madangsoe (an under servant), they played their roles. The gut consists of equipment, food, clothes, music and dance. Next, I derived two nets of meaning out of considering a mudang gut performance of mudang (shaman). First, god in a general gutgeori appears expressing their existence by using mime with the music. Second, the following god appears expressing themselves using only mime without music. After showing who he is through action and facial expression, he continues to play a gut. Accordingly, mime of seoul gutpan plays a role to reveal the existence of god. Also, I divided the way of performing mudang gut into language performance and motions and then suggested that mime was mainly used in the motions. I surveyed a gutgeori using mime in the concrete. Through this, I suggested that the shaman used mime, when sending a deadman to the next world in a Jinogi gut. I suggested that mime was utilized repeatedly at the process of repelling the misfortune in a jaesu gut.

• Cartoon and Animation Studies
• /
• s.32
• /
• pp.263-288
• /
• 2013

This research is about effects which frontal-flat cameras have on narrative films. This kind of confined camera angles make the audience have a sense of tension which is barely defined logically. I think the tension comes from aleatorism. The paper is a research on how aleatorism is working on what kind of value, and what kind of effects it has on narrative films. Russian Formalism had argued they had to meet aesthetic values by totally excluding narratives. It can be said that this was a practice for Brecht's estrangement that a sensitive arousal prohibits the audience immersing into excessive empathy and then make them have a reflective thought. But occasionally, optical arousals in narrative films induce deeper immersion into contemplation rather than reflective thought. I intend to find cases regarding this textualising Front-flat camera angles in narrative films and analysing their contents. To do this, I suggest a more specified definition of 'aleatorism'. Because the concept of the aleatorism is different between an aspect of static image like paintings or photographs and narrative contents like cinema. It is divided into approach through form and approach through content. And I also suggest an operative definition about 'Frontal-flat camera angle' with a several confinements because its formal definition is very flexible depending on audience. The case analysis will be done with a form of discourse discerning two aspects of form and content. Conclusively, Frontal-flat camera angle in narrative film is basically have an effect of attention by optical stimuli. But it cannot be said that this always means deterioration of narrative value. Depending on causality of episodes in the whole story, aleatorism which Frontal-flat camera angle has can support immersed contemplation regarding following narrative rather than reflective thought regarding amusing aesthetics.

• (The) Research of the performance art and culture
• /
• no.18
• /
• pp.103-136
• /
• 2009

This study analyzed the aspect of action and mean in Japsaeknorum. Secondly, this study contrasted Japsaeknorum with Mime. Thirdly, the characteristics of gestures in Japsaeknorum were analyzed. The results, obtained by those steps are subordination, hostility, cultural control, the comic characteristics by situation, functional role, the sublation of competition and conflict, the variation of subordination and deviation, the end of subordination and deviation. The korean mime is a heritage of Western culture. But in the history of korean mime, it make every effort to seek the korean form of mime. Therefore, this study is very helpful to seek such a way.