• The Journal of the Korea Contents Association
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• v.8 no.11
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• pp.103-114
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• 2008

The purpose of this study is to find the theatrical style in Dogville, which was the film directed by Las Von Trier. There are a lot of Brecht Epic theatre styles in plot and mise en scĿne in the film. This study try to divide into three parts of them. First of all, the film uses the defined space as a theatrical stage in the one act play. Secondly, there are some apparatuses which was presented as a stagy style in the film. From these apparatuses, the audiences can get the human's life dialectically collided against a sense of alienation. Finally, the film shows up the mime and non-diegetic sound to get an epical stream of Brecht's style. By using these elements to construct all of the film structure, the audiences can establish their one subjecthood against the idealogical empathy.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.73-108
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• 2019

This paper is an attempt to discuss the history and the current state of 'SF theaters.' SF theater is still an unfamiliar genre to the public, and may surprise some, given that the stage is perceived as an insufficient space for stretching the scientific imagination. Since 2010 works that bring the scientific imagination into the theater have frequently been performed, and a recognition of SF theaters began to be established. Producers came to be absorbed in human psychology, and our isolation amidst the progress in technology, as well as in the absurdities of the world, while giving up the ideal of realistic descriptions. This became the foundation for SF theaters in South Korea today. Starting from the research history and the conceptual change in SF theaters, this study examined the status of SF dramas going back to the colonial period for SF theaters. Through inquiring into the history of SF theaters, we were able to derive the following implications and problems. Firstly, as they are based on future society or technical improvement without consideration of scientific probability or rationality, the scientific imagination is too absent for the work to be named 'SF theater.' Secondly, while being highly evaluated as an attempt to integrate science and stage in an era that emphasizes convergence, when we delve into the creativity of a material it is noticeable that the view of the world is still regressive. Thirdly, there are many cases in which scripts lean on SF classics or Japanese original works. Nevertheless, if young creators' diverse attempts in a genre can breathe with the contemporary audience desiring a new material, the foundation of a Korean-style SF theater may be expanded to include more significant work.

• Journal of Korea Game Society
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• v.16 no.2
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• pp.75-86
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• 2016

Game studies of theatrical approach explained interactive property of game in humanistic background. Those studies analyze the game, and based on Aristoteles Poetic Attribute. But theatrical approach has a problem by user's unpredictable intervention in narrative (Active narrative). This paper intended to see in the glance of any impact on the Aristotelian model by active narrative. As a result of the active narrative remake the causality between materials of drama. Also, it can be seen to define a kind of the "Improvisation" in theatrical view. But it exposed a essential difference in the form an expression by substance and material of media. It was defined forms of improvisation in the gaming environment which are 'Self-generated Individuality', 'Self-definition Faction', 'Eccentric Behavior Contending', 'Trolling' and 'Bug Play'. Finally this paper proposes the characteristics of the improvisation of the game and the direction to be improved game analysis model in humanities through forms of improvisation in game environment.

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.161-180
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• 2021

The purpose of this study is to define Juan Mayorga's play Hamelin as a Post-Epic Theatre and to study the practical directing technique for Hamelin as a Post-Epic Theatre. Post-Epic Theatre, which appeared after the Post-drama, has the purpose of presenting social issues, communicating interactively between the actors and the audience, and making the audience think about the issues presented by the techniques of immersion and alienation. To this end, after examining the theoretical background of the Post-Epic Theatre, the characteristics of the Post-Epic Theatre of Hamelin were identified and based on these features, '1. Building a visual image based on a Cubistic multifocal concept' and '2. The concept of directing was derived from reinforcing Meta-drama through role-playing'. Next, the actual directing technique was discussed, focusing on the chain action of immersion and alienation that occurs in the form of communication between actors and audiences. '1. Presenting the characteristics of the work through Post-Epic Theatre scenography', '2. Co-existence of actors and characters', '3. Building and utilizing body-centered gestus' are them. As a result, demanding an active attitude from the audience, various experiences such as critical thinking of the audience, strengthening the characteristics of post-epic dramas, and active meaning creation were made possible.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.67-77
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• 2019

There are many eyes that recognize Korean traditional performing arts as low, unorganized, and not a play. However, there is clear in the Korean traditional performing arts have a story with a perfect narrative structure. From the Miyal which accepts the Western tragedy theory to the Gangneung Gwanno Mast drama which contains the love story of the comedy, many Korean traditional performances contain the elements of narrative even though the contents are very simple. It is true that there are very few things with perfect narrative structure among the Korean traditional performance that has been passed down so far. It is the responsibility of the researchers to unearth and restore these, and it is the task of the creative artists to create new ones according to contemporary philosophy. If these two fields communicate smoothly, we will be able to look at the future of our traditional performing arts more brightly than now. As a result, it will also be a challenge to solve the problem of letting Korean traditional plays penetrate ing the world market.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.227-237
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• 2020

In the 30th edition of , Chunhyang is conventionally presented as a woman who tries to protect her chastity and it eventually bears the fruits of her love. On the other hand in , Chunhyang is reinterpreted as a woman who strives to protect feminist self-consciousness and beliefs, even in unreasonable social situations. By comparing the two different works, we can see differences in the behavior of the characters in how to overcome various obstacles, such as irregularity, gender discrimination, and identity conflict. By reinterpreting the emotions of the characters in the classic novel into the emotions of the modern characters, we can see the how the characters grow when trying to overcome the situation and find a solution, even though there is no change yet. This can be seen as the emotions of the characters become different as time goes by. As the times go by, the world's values and inclinations also change, and the irrationalities of the world will also go in various directions. Through the fusion of culture into history, even though it's irrational but we become familiar with it and will clearly understand the absurdities, and we can look forward to changes in the process.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.117-130
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• 2020

The Golden Dragon is a work that reminds us of the tragic illusion of globalization through the story of Asian workers' lives in Berlin, a strange city. Also, the post-epic nature of the play requires the audience to see it in a new way, more different than before. In Korea, there are theoretical studies on the post-epic theatre, but there is little research on specific acting approaches based on practical production process. Therefore, I first analyze the post-epic characteristics of The Golden Dragon in order to present specific acting approaches. As a result, it would be confirmed that body-centered acting approaches were required in the post-epic theatre to play more different roles than in the realism play. Thus, Laban movement Analysis(LMA) of Rudolf von Laban is applied so that internal impulses could be naturally induced through the utilization of the body. Of the four categories of motion(BESS), Laban seeks to look at the body-centered acting approaches through the effort. Finally, it must be confirmed through the actual production process that Laban's theory of motion could be used as a body-centered acting approach to creating the role of post-epic theatre.

• (The) Research of the performance art and culture
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• no.32
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• pp.489-524
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• 2016

This study examines the birth of a genre, the $Sekky{\bar{o}}bushi$ Misemono Opera, focusing on how it accepted and modernized Katarimono $Sekky{\bar{o}}bushi$. Unlike earlier studies, it argues that Terayama was clearly different from other first-generation Angura artists, in that he rebirthed the medieval story $Sekky{\bar{o}}bushi$ as a modern Misemono Opera. Shintokumaru (1978) was directed by Terayama $Sh{\bar{u}}ji$, a member of the first generation of Japan's 1960s Angura Theatre Movement. It takes as its subject the Katarimono $Sekky{\bar{o}}bushi$ Shintokumaru, a story set to music that can be considered an example of the modern heritage of East Asian storytelling. $Sekky{\bar{o}}$ Shintokumaru is set in Tennoji, Japan. The title character Shintoku develops leprosy as a result of his stepmother's curse and is saved through his fiancee Otohime's devoted love and the spiritual power of the Bodhisattva Avalokitesvara. In this work, Terayama combined the narrative style of $Sekky{\bar{o}}bushi$ with J.A. Caesar's shamanistic rock music and gave it the subtitle 'Misemono Opera by $Sekky{\bar{o}}bushi$'. He transforms its underlying theme, the principle of goddesses and their offspring in a medieval religious world and the modori (return) instinct, into a world of mother-son-incest. Also, the pedestrian revenge scene from $Sekky{\bar{o}}bushi$ is altered to represent Shintokumaru as a drag queen, wearing his stepmother's clothes and mask, and he unites sexually with Sensaku, his stepbrother, and ends up killing him. The play follows the cause and effect structure of $Sekky{\bar{o}}bushi$. The appearance of katarite, a storyteller, propelling the narrative throughout and Dr. Yanagida Kunio is significant as an example of the modern use of self-introduction as a narrative device and chorus. Terayama $Sh{\bar{u}}ji^{\prime}s$ memories of desperate childhood, especially the absence of his father and the Aomori air raids, are depicted and deepened in structure. However, seventeen years after Terayama's death, the version of the play directed by Ninagawa Yukio-based on a revised edition by Kishida Rio, who had been Terayama's writing partner since the play's premier-is the today the better-known version. All the theatrical elements implied by Terayama's subtitle were removed, and as a result, the Rio production misses the essence of the diverse experimental theatre of Terayama's theatre company, $Tenj{\bar{o}}$ Sajiki. Shintokumaru has the narrative structure characteristic of aphorism. That is, each part of the story can stand alone, but it is possible to combine all the parts organically.

• Cartoon and Animation Studies
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• s.36
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• pp.417-436
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• 2014

Stories have existed with the history of mankind along with drawings. Any genre of art that discusses the flow of time, such as literature, film, and play, cannot be free from narratives. The comics are not an exception. The comics tell the narratives with drawings from the cartoons in single blocks to the full-length series in tens of volumes. Nevertheless, there are not many studies that discuss the narratives in the comics. They may have been overlooked because they have been studied in the field of literature. However, I am envious of the field of film, which unravels the narratives with the same visual images, profoundly explores its own narratives and experimentally modifies and expands them into various levels. Therefore, I would like to make a narrative approach to the comics in this study. This study will discuss the non-narratives. It may sound ironic that the study of narratives will discuss the non-narratives, but the narratives cannot exist without the non-narratives. The non-narratives in the narratives compose the narratives in various ways. Therefore, Chapter II will discuss how the theory of narratives in literature classifies the narratives and the non-narratives as a theoretical background. Then, Chapter III will analyze the forms of non-narratives in Han Jo Kim's "The Texture of Memory" to discuss how the non-narratives of comics are composed, while Chapter IV will summarize the preceding studies. Finally, the narratives should be actively studied as it is an essential component of comics. I hope that this study can lay the foundation for more in-depth discussions of the narratives in the comics.

• The Journal of the Korea Contents Association
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• v.22 no.8
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• pp.200-210
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• 2022

The purpose of this paper is to analyze Hirata Oriza's three plays, "Scientific Minds," "Monkeys on the Northern Limit Line" and "Balkan Zoo" with Lyotard's postmodern scientific view. Liotar, who claims that science and narratives follow the rules of their own pragmatic use, talks about the incommensurable parallelism between the two. Hirata Oriza points out that humans rely on narratives in the postmodern world. This paper analyzes Hirata Oriza's plays in three aspects. First, in the postmodern world where the master narrative has disappeared, it identifies the point where the boundaries that define the identity of human beings under the lost and developing science technology are fading. Second, we look at the pattern in which the parallelism between scientific knowledge and narrative knowledge is constantly diluted due to the characteristics of humans who understand the world by leaning on narrative. Finally, the aspects of small narratives are idetified, raised by individuals to comfort themselves toward a world where the master narrative disappears and is justified only by maximizing performance.