• The Proceedings of the Korean Institute of Illuminating and Electrical Installation Engineers
• /
• v.24 no.4
• /
• pp.51-59
• /
• 2010

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
• /
• v.23 no.4
• /
• pp.16-28
• /
• 2009

Stage art basically builds upon the essence of "seeing," and at the same time, possesses relativity in showing and seeing. Stage lighting uses artificial light to solve the essence of "seeing", which is the foundation of stage art, and coming into the modern age, its role has been enhanced to an important medium for visual expression in stage art, due to the lighting tools that developed at a rapid pace along with the discovery of electricity, as well as the development of optics. Therefore, not only does lighting use a medium known as light in a field of stage art that gives mental and emotional inspiration to the audience, and aesthetically expresses time and space. In other words, stage lighting is a complex function of light engineering (technology and science) and aesthetic sense (feeling and art). This study aims to do research on methods for the visualization of stage space through lighting, mainly focused on dancing. I have studied the basics of stage lighting, its relations with other fields of stage art, and the functions and characteristics of lighting. Results show that lighting could be used to maximize the visualization of dancing and emphasizing the artistic growth of lighting and its ability to aesthetically express and I came to the following conclusions. First, lighting uses the forms and directions of light that various tools are able to produce in order to visualize the space on stage, and can maximally express the image that the work seeks. Second, it is possible to use lighting, through the movement of light, as a visual representation of the configuration of space in dancing works. Third, through the expression of visual and spatial aspects created by light, the work's dramatic catharsis can bring out mental and emotional feelings form the audience. Fourth, lighting can be seen not as a supporting role, but as an original visual design. To conclude, in order for lighting to be freed form the simple function of "lighting up the stage," which a majority of people think is common knowledge, and grow as one area in art, lighting designers must understand the intentions of the choreographer and the work with creativity and artistry they must consider light and color as an aesthetic language in order to heighten the effects of the work and allow it to partake as one element of work creation, so that lighting will be treated as a form of art.

• 전기의세계
• /
• v.59 no.2
• /
• pp.33-46
• /
• 2010

• Proceedings of the Korean Institute of IIIuminating and Electrical Installation Engineers Conference
• /
• 2009.05a
• /
• pp.218-223
• /
• 2009

Even though the movement of human body contruct the primary factor of Dancing Art, spectators appreciate more meaningful expression of the stage that stand above limited space and time. Lighting is a distinctive expressive mechanism of obvious line, form and rhythem of human body by marking a light and shade through artificial beams into the stage. As Dancing art is different from drama, lighting of dancing stage should be distinguished from that of drama stage.

• Korean Institute of Interior Design Journal
• /
• v.18 no.1
• /
• pp.43-53
• /
• 2009

This study is to investigate the utilization of Indoor Proscenium Stage Zone Lighting method in the dancing performance. In other words, it is about how we can utilize the principle of zone lighting in dancing performance, a kind of stage art. Stage lights give lights on the stage. Therefore they play big and important roles in dancing performances. Lightings make big influence on the overall atvosphere and situations of the dancing work but most of dancers do not perceive their importance and furthermore they don't know about the lightings very well. To let them know about stage lightings better, we studied lightings form the perspective of the dancers who face the lightings without great knowledge thresh the articles and literature related general lightings and lighting design, books related to stage lightings and dancing lightings, previous studies and academic articles. The most important part of this study is to understand and utilize the principle of zone lightiing. Zone lighting is generally called as cross lighting, which means single light from the crossed two lights. When looking into the principle of the zone lighting of the Indoor Proscenium Stage, it means 45 degree lighting from both sides of the top form the point of the dancer When more than two lights are used, the angle of the light should be $90^{\circ}$or 120. It is the principle of the lighting technology showing the face and body of the dancers ing three dimension. Applying for the principle of this zone lighting to the dancing performance of Indoor Proscenium Stage, the lighting methods and the usage of the lightings were studied. As shown above, the role of the lighting is very important in dancing configuration. We hope that the perception on the dancing lighting will be changed and studies on the dancing lightings. By understanding and applying more principles of lighting, we will make efforts to make better dancing performance and dancing conporsers and dancers shall make more efforts and studies on lighting for better works. Through such efforts, we can have more experts and professionals In dancing lighting field and they will help us to describe and express the intention of the dancing work better as dancing artists. We hope that there will be better quality performances through more and diversified studies in this field.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
• /
• v.29 no.9
• /
• pp.10-13
• /
• 2015

Stage lighting plays a significant role in drawing out the mood and images that are intended by the choreographer. It is related to the dancers' movements and affects them both directly and indirectly. This study is on a reciprocal relationship between dance choreography and stage lighting, covering a broad range of functional factors of lighting effects on the dance choreography. Also, the data on preferred lighting colours and their frequency of usage are gathered through surveys by lighting specialists. The data is used to identify the lighting colour in general dance choreography. It is collected to serve the purpose of providing opportunities to acknowledge the needs of various colour changes on the stage. It is hoped that a collaboration of studies related in this subject are continuously promoted and researched in producing high quality dance performances.

• Trans-
• /
• v.2
• /
• pp.191-210
• /
• 2017

The purpose of this study is verifying whether convergence does its role as a transfer medium in dance expression or not, finding the effect of convergence characteristics and confirming whether it would bring change and new creation in performance art or not. This study suggests that studies on convergence in dance are required in accordance with the trend of time. This study believes that convergence is a modern art expression method, which can maximize the artistic expression in dance work and it will play an important role in the advance of dance works. There are ongoing studies on convergence art genre by many creators; however, still academic study this matter is not sufficient. Therefore, it is believed that more studies on convergence genre from the viewpoint of human studies are required. Accordingly, this study took Blush, the dance art works of Wim Vandekeybus, as the subject of study because convergence is clearly visible in these works. It is possible to draw convergence from these works because the works attempt new creation and utilize image by accommodating other genre art in dance art. The convergence in these works maximizes the originality of choreography and expands the time and space of stage through various effects. In other words, it is possible to see that Wim Vandekeybus is doing new attempts in his dance works by experimental elements, which escaped from simple movement, and convergence appears in the works.

• Trans-
• /
• v.5
• /
• pp.83-111
• /
• 2018

This study aims to analyze early works of contemporary Europe female choreographer Anne Teresa de Keersmaeker, which are Rosas danst Rosas, Elena's Aria in terms of feminism. Started from 18C, feminism movements have changed the perception and conception of women. Since then, women in the work of art have been portrayed to be more powerful and independent than weakened images. The influence of feminism in this era made transition to let female artists act more outstandingly nowadays. Therefore, the study began with the need to reflect the image and role of female dancers in the artistic work with the viewpoints of feminism in the flows of social and cultural background. Works of Rosas danst Rosas represents the aspects of radical feminism. Physical suppression of female dancer reflects liberation of free will. Post-modern feminism is displayed at Rosas danst Rosas which escaped from original portrait of women and exposed new active contemporary image of woman. The Elena's Aria, Radial feminism is represented physical suppression of female dancer reflects liberation of free will. Through analysis of Anne Teresa's works with feminine sight, her works were mainly influenced by feminism occurred after 1980's. Having found other possibilities to explore her choreographic philosophy, insufficiency of domestic data about Anne Teresa was once again reckoned. The researcher hopes that by studying Anne Teresa from the feminist point of view, the various images produced by dancers will not disappear right away, rather creating a sense of unity and development without losing the meaning.

• Proceedings of the Korea Contents Association Conference
• /
• 2017.05a
• /
• pp.455-456
• /
• 2017

본 연구에서는 흑인 여성의 정체성과 이들을 받아들이는 공동체에 관한 사회적 시각을 논의하고자 한다. 대표적인 미국 흑인 여성 안무가를 중심으로 그들의 이야기와 삶을 통해 컨템포러리 댄스의 지점과 흑인 여성의 의미를 되새겨보는 계기가 될 것이다. 이는 컨템포러리 댄스의 다양성을 확인하고 기존의 중심과 주변이라는 개념을 초월하여 예술적이기에 정치적인 흑인 무용안무가들의 작품 취지와 철학을 조명하는 계기가 되리라 사료된다.

• Review of KIISC
• /
• v.20 no.3
• /
• pp.58-61
• /
• 2010

최근 영상압축 및 전송기술의 발달과 저장매체의 대용량화 등 IT 기술의 발달로 영상기반의 보안시스템은 누구나 쉽게 사용할 수 있는 보편화된 시스템이 되고 있다. 그리고 프로세서의 발달로 인해 감시카메라에서 취득한 영상을 영상처리를 통해 자동으로 해석하는 지능형 영상감시 시스템은 주목 받고 있다. 하지만 외부로부터 카메라가 공격을 당해 감시불능인 상태가 되면 아무리 뛰어난 지능형 영상감시 시스템이라고 해도 무용지물이 되기 때문에 카메라 무력화를 감시하는 알고리즘은 반드시 필요하다. 카메라 무력화 검지 알고리즘은 사용자로 하여금 시스템을 편리하게 사용할 수 있게 해 주지만 아직 많은 알고리즘들은 조명변화와 같은 일상적인 상황에 잦은 오보를 출력함으로 시스템의 신뢰도를 떨어뜨리고 오히려 사용자에게 불편을 주고 있다. 따라서 본 논문에서는 조명변화에 강건하도록 입력영상의 코너를 특징점으로 이용하여 감시카메라의 공격을 검출하는 방법을 제안한다.