• Korean Journal of Childcare and Education
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• v.7 no.3
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• pp.211-238
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• 2011

This study examined the effects of drama play activities on child's initiativeness. The participants were 34 five-year-old children in two classes of a child care center. Before the experiment, the initiativeness test was conducted on the children of the experiment and control groups. initiativeness was categorized into emotional ability, communication skills, and achievement motivation. Drama play activities were directed to the children of the experiment group while the existing program was applied to the control group. After the experiment, both the experiment and control groups took the post-test. Analysis of data was performed by ANCOVA. According to the result of the research, children of the experiment group participated in drama play activities showed more effects in all sub area of initiative including emotional ability, communication skills, and achievement motivation than children of the control group. This result implied that dramatic play activities are effective teaching-learning method for enhancing child's initiativeness.

• The Journal of the Korea Contents Association
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• v.14 no.8
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• pp.130-136
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• 2014

In national copyright law, dance is included in dramatic works. Considering the differences of conception of drama and dance or that of legal handling, however, it is reasonable that choreographic works be separated; so are the cases of many different developed countries. It is different that through lines emotion is communicated in drama but through physical movements in dance. Thus as dance is separated from dramatic works, it is possible to discuss unique qualities of choreographic works.

• Proceedings of the Korea Contents Association Conference
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• 2017.05a
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• pp.329-330
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• 2017

본 연구는 낭만주의 화가 프란시스코 고야의 작품 <아들을 먹어치우는 사투르누스>의 영감을 토대로 춤연극 를 제작하였다. 따라서 제작과정에 나타난 움직임의 상징적 의미와 언어적 소통의 다섯 가지 분석을 시도하였다. 연구결과 첫째, 표현주의를 대표하는 고야의 작품 <아들을 먹어치우는 사투르누스>에 나타난 공포와 괴기 속에 드러난 소통과 상징성은 움직임의 표현적 이미지에 하나의 'signal'적(的) 소통으로 직결되었다. 둘째, 프란시스코 고야가 나타낸 인간의 잔인성, 참혹함이 춤연극 제작을 통해 다른 의미로의 해석이 가능했다. 이것은 움직임 상징성과 역동적 에너지가 갖는 의미와 해석의 다양성으로 인식된다. 셋째, 정적이미지의 그림요소와 색채가 갖는 상징성은 춤연극의 언어적 유희와 움직임의 다섯 가지 상징적 이미지 체계로 정리되었다.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.8
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• pp.4844-4852
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• 2014

Many festivals are based on overseas municipalities 'city image marketing' planning. This trend is gradually reflected in this country as with the Kimcheon International Family Theatre Festival in the Republic of Korea. Gimcheon promotes itself as the central city of happiness 'city image marketing'. Most of these dimensions are in the middle of planning a festival when the Manjiman Kimcheon International Family Theatre Festival Theatre Festival, and the differentiation of the other audiences that drive successful practices in terms of box office need to be determined. This paper presents the history and status of the Kimcheon International Family Theatre Festival Theatre Festival and others based on the reports point out the distinction of a 100% share of the audience for the fifth consecutive year to analyze the cause. In particular, with local art and local performing arts festivals, audiences through a combination of 'show' Theatre Festival are also indirectly involved in the 'touch and feel' willingness to participate. In the Kimcheon International Family Theatre Festival there are significant challenges for improvements in significance.

• 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 The Korean Association For Science Education
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• v.24 no.5
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• pp.902-915
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• 2004

Science drama can be an useful tool for understanding the nature of science, Science-Technology-Society relationship by providing indirect experiences to young students. Specific science concept and knowledge can also be learned with high interests. In this study, to explore the usefulness of science drama in elementary science lessons, two scripts of science drama and lesson plans were developed and implemented. Six step model for science drama lessons was also suggested. One was 'Manhattan Project' which dealt with social, ethical responsibility in using science & technology (science argument drama), and the other was 'Mom, My blood type is O' which explained the heredity of blood type (science concept drama). Two teachers were asked to write their journals during preparation and implementation of science drama lessons, and the lessons were observed by the researcher and video taped for analysis. Some students were interviewed just after the lessons by the teacher and all students were asked to write their impressions, change of their thought, what is leant etc. Overall responses of students and teachers on the two science drama lessons were very positive, 'Mom, My blood type is O' got more positive responses, and girls were more positive than boys. Some students anticipated another science drama even suggest topics for it. 'Mom, My blood type is O' was successful in making students (grade 3) understand the knowledge related with heredity of blood type (71% of the students got perfect answer). In 'Manhattan Project' students (grade 5) perceived more diverse location of responsibility after the lesson, but the danger and harmfulness of atomic power was embossed. This implied the need of more careful planning for the relevant learning activities before and after the play of science drama.Two teachers perceived the science drama as a new, useful tool for some subject which is hard to deal with by other teaching method. They were also satisfied with students' high interest and engagement during the science drama lessons but the extra time and effort for the lessons were pointed out as a main difficulties.

• 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 Korean Theatre Studies Association
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• no.40
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• pp.29-60
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• 2010

• (The) Research of the performance art and culture
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• no.32
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• pp.629-650
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• 2016

본 논문은 일본의 시니어 극단 현황과 구체적인 사례를 조사하여 고령화 사회에 있어서 그 의미와 역할의 가능성을 고찰하는 데에 목적이 있다. 특히 최근 국내에서도 시니어 연극제가 개최되는 등, '노인 극단'이라는 이름 아래 고령자들이 직접 참여하는 연극 프로그램이 개발되고 있다는 점에서, 일본의 사례는 참고할만한 사례가 될 것으로 기대된다. 이를 위해, 본 연구에서는 우선 일본의 시니어 극단들의 활동 상황, 그리고 이렇게 활성화된 배경에는 어떠한 요소가 있는지 고찰해보았다. 일본 연극계에 이미 오랜 기간 연극을 즐기는 시니어 관객층이 존재했고, 또 주요 극단들이 그들을 주요 타깃으로 한 전략개발과 서비스가 행해지고 있었다는 점은 국내 상황과 다른 부분이었다. 그러나 니나가와 유키오 연출가가 이끄는 '사이타마 골드시어터'의 창단과 그 성과는 커다란 영향을 미쳤을 것으로 보인다. 전위적인 희곡을 가지고, 일본뿐 아니라 유럽과 아시아에서 예술성을 인정받은 극단이기 때문이다. 작품 활동뿐 아니라 실질적인 운영 내용을 파악하기 위해, 제작자와 배우의 인터뷰를 실시한 결과, 사실상 젊은 극단들과 차이가 없다는 사실도 알 수 있었다. 이러한 사례는 시니어 극단이 가질 수 있는 가능성의 범위를 넓혔다는 점에서 매우 유의미하다. 국내의 시니어 연극계에 긍정적인 자극이 되기 바라며, 보다 더 많은 데이터를 수집하는 것을 금후 과제로 한다.

• Trans-
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• v.12
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• pp.223-244
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• 2022

The rapid change of the culture and art environment is led to new art & cultural education and differences in culture and art education facilities, away from the traditional closed space culture and art education. Phenomena such as plays out of the theater, exhibitions out of the art museum, and pictures taking a walk indicate that cultural and artistic educational facilities can no longer stay in the existing paradigm and are changing along with the changes in the cultural and creative world. Therefore, to develop a site-specific theater education program centered around a specific place rather than a theater or studio, in line with the changing times of cultural and artistic educational facilities, this researcher analyzes Brecht's radio play experiment and the recent performative performance experiment. Furthermore, using the regional and community values of arts and culture education confirmed as the motive for research on site-specific theater programs, I analyze the implementation and application process by experimenting with theater programs out of the theaters and studios. As a prior study, research on site-specific performances is being conducted relatively actively, but earlier studies were dealing only with the Ligna group performance cases are lacking. However, I would like to use the previous research on site-specific performance cases as an epistemological background. As a result of the study, for the place-specific theater program through a total of 10 learners, a text based on a specific place was created that did not depend on traditional literary texts. Through this, the possibility of a site-specific theater education program could be confirmed.