• The Korean Publising Journal, Monthly
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• s.153
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• pp.14-14
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• 1994

오류 하나는 탈춤이 전승되고 연행하는 현장을 보지 않고 채록된 보고서만 텍스트로 삼아서 탈춤의 미학을 밝히겠다는 것이다. 그것은 마치 연극은 보지 않고 희곡만 봐야 연극미학을 제대로 연구할 수 있다는 것이나 다름없다. 오류 둘은 현장론이 무엇인지도 모른 채 다만 현장답사가 곧 현장론이라는 인식의 착각이다.

• The Journal of the Korea Contents Association
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• v.9 no.12
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• pp.181-192
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• 2009

The purpose of this research is to investigate appropriate usage of pansori's method of breathing, sound making, and resonance in order to develop actor's aesthetic voice. Today's theatre no longer see inter-cultural approach as new or experimental, but see it as a part of global current. Actors are required to integrate some global-ness into their acting. It's not enough, however, for actors to equip some cosmopolitan sensibility. More important thing is that they should be able to integrate one's own culture and aesthetic into their performance. Only after acquiring one's own cultural identity, it is possible to step into inter-cultural work. It is fundamental, therefore, for actors to assimilate traditional movement and aesthetic voice. It's been known that traditional Korean voice traits are well preserved in Pansori. In this paper, based upon well-known theories and practices of western voice training, pansori's principles and practices are utilized to bring a new aesthetic voice.

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

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.101-125
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• 2021

This paper aims from various angles to examine the context of the problem situations that Jang Woo-Jae describes from contemporary korean society, to examine which chance of thinking is in this case given to the audience, and to examine whether through the plays in the theater this chance of thinking can be referred to public opinion. This study considers not only the contribution of Jang's thought experiment that is connected to the dramaturgical function including the aspects of dramatic form and content to dramatic effects for the audience, but also the possibility of an arrangement for a new way of thinking by the audience. Thus, Jang's thought experiment should be understood in connection with the whole message of his plays. And this study researches, how an new attention to the public nature of common world, which should be demanded for the sake of a mature civil society comes into existence within the point of contention in every play based on Jang's thought experiment. Finally this paper inspects through Jang's plays the possibility of contribution of performing art to contemporary korean society, and takes account of self-examination in meta-dimension of the theater regarding the role and meaning for the sake of human being and gemeinschaft.

• The Journal of the Korea Contents Association
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• v.11 no.1
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• pp.165-175
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• 2011

The purpose of this research is to investigate the possibility of creating new theatrical contents by performance anthropological approach. Today's traditional performing arts are historically descended and developed in the forms of Ahk, Hee, and Geuk. Among those, Dongrae-yaru is a traditional mask dance, handed down in Dongrae, Pusan and appointed as the 18th intangible cultural asset. Its performance is carried out in the juxtaposition of Ahk, Hee, and Geuk. Korean theatre in the 21st century seems going back to realism after going through post-modern cultural phenomenons. However, the quest for alternative theatre is raised higher than ever. As a part of this strive, this paper asserts the traditional performing arts should be investigated as an alternative and new theatrical form. Among those traditional performing arts, Dongrae-yaru is selected for its well balanced combination of Ahk, Hee, and Geuk. The study examines in depth how each element of Ahk, Hee, and Geuk, they are expressed in forms of folk music, refined dance, jest, satire, wit. Its investigation on the stage adaptation provides the possibility for the new style and codification as the new theatre contents.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.307-322
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• 2020

The acting of physical action of the director Kang Yang Won's plays is mostly simple and repetitive. This acting induces the audience to sensuous perception and certain corporal emotions. In addition to semiotic meaning of dialogue a stimulus is given directly to sense of the audience. Therefore, the audience participate in creating a performative space with assistance of atmosphere. So, the feedback-loop of autopoiesis is made and the emergence of meaning is experienced due to felt perception. This emergent meaning springs unexpectedly by imagination, remembrance, and association etc. and is not produced on purpose. In addition, the audience participates in the performance together by the intersection of the perception for representation and perception for presence, and is especially affected by the presence of acting of physical action. In this paper, the study of four major performances of the theatre troupe Dong performed since the 2010s confirmed not only the individuality of each performance, but also the commonality that encompasses the entire performances. This led to discovering the discrimination power of the aesthetics of theater of the director Kang Yang Won and the theatre troupe Dong.

• The Journal of the Korea Contents Association
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• v.16 no.7
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• pp.633-639
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• 2016

Putting his 'Panic theatre' aesthetics into practice, Fernando Arrabal is a leader of the avant-garde theatre. Creating ${\ll}$Guernica${\gg}$, Arrabal's play, in a dance theatre format, this study tries to analyze the group pathos in fanatical conscious and poetic movement. Logic analysis is based upon the pathos value of the theatre of the Absurd that transcends the unrealistic and the illogic on the authority of dual element of the internal opposition and contradiction of human beings. In ${\ll}$Guernica${\gg}$, the dance of the Absurd found expression in the group pathos phenomenon of fanatical conscious, and was analysed as a new framework of communication structure.

• (The) Research of the performance art and culture
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• no.25
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• pp.5-30
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• 2012

I. Identity of Yeonsegeuk as total arts. The purpose of the thesis is to arrange the identy of Yeonsegeuk(Kino-Drama) which is theatre or film. The process of study is tried to discuss on the aethetic of Yeonsegeuk. II. Appearance of Yeonsegeuk and negative disputation of yeonsegeuk The first imported Yeonsegeuk from Japanese in Korea is made by the group of Mizuno Ganggetsu(水野觀月) on Oct. 16. 1915 at Pusan and also to run in Seoul at Hwanggeumgwan. The first of Korean Yeonsegeuk is by Kim, Dosan, a leader of Singeukjwa(theare group) on Oct. 27. 1919 at Danseongsa. Before the liberation of Korea from Japan all made korean Yeonsegeuk are 28 works. III. Dramatic form of Yeonsegeuk I study on the relation between Yeonsegeuik and Sinpageuik(new theatre of modern drama in 1920's). I find that Yeonsegeuik admitted the thechnics of the Sinpageuik and the contents. If We think that the theatre is synthetic art which genealize all arts, we can insist that the Yeonsegeuk is valued the total art as new performance to comply with film art to theatre. Conclusionly Yeonsegeuk is called 'Expanded Theatre' as the new performance which must be dicussed in the view of total art. VI. Discussion on the the aethetic of Yeonsegeuk When we compare the structure of film with the structure of theatre, we can't find a diffrent element between the structure of two art in art semiotic. But we find a fact that film art has special elements in mechanics character which are camera working and motage. These technics influence on the audience's mind. It is different point between Japan and Korean's Kino-drama and Germany's that is to admit the aethetic of total art or not. V. Yeonsegeuk as new performance During Korean modern times Kino-drama was first a kind of total art with stage and screen. But it is regretable that Kino-drama didn't have the background of theory which discourse on the comprehension of total art. As the result Kino-drama bring the confusion of argument that Kino-drama is total art or expanded theatre. This confusion will be disputed on film art as performing arts or future art as expanded film and total art.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.225-260
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• 2012

In diesem Aufsatz handelt es sich um die Untersuchung ${\ddot{u}}ber$ die Theaterregiearbeit von Lee Youn-Tack, der 25 Jahre lang viele $Theaterst{\ddot{u}}cke$ inszeniert hat. Hier wird es mit dem Begriff 'Krisis' gearbeitet, also unter dem Aspekt der Krise wird sein $k{\ddot{u}}nstlerisches$ Bewusstsein und sein Inszenierungsstil herausgearbeitet. $Schlie{\ss}lich$ soll es bewiesen werden, dass Lees Theater als ${\ddot{A}}sthetik$ der Krise darzustellen ist. Unter dem Aspekt der $Narrativit{\ddot{a}}t$ der Krise ist festzustellen, dass es bei seiner 25 $j{\ddot{a}}hrigen$ Arbeit wesentlich um die Krisendarstellung bzw. Krisenbewusstsein als Intellektuelle geht, und dass Lee $gegen{\ddot{u}}ber$ koreanische Gesellschaft und Gegenwartstheater Krisenbewusstsein hat und es bei seiner Arbeit und bei verschiedener Gelegenheit Diskurs $gef{\ddot{u}}hrt$ hat. Hierbei ist es festzustellen, dass Krise erstens, als kritisches Bewusstsein, zweitens, als Bewusstsein ${\ddot{u}}ber$ die ${\ddot{U}}bergangszeit$, drittens, als rituelle Inszenierungsstile dargestellt wurde. Letztlich wird in diesem Aufsatz kritisiert, dass sein Krisendiskurs auf der gewisser Weise fiktive Selbstinszenierungscharakter hat.