• (The) Research of the performance art and culture
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• no.38
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• pp.5-31
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• 2019

This article aims to examine the concept and historical background of Applied Theatre and its major characteristics as a newly emerging theatrical practice in recent years. With these aims, the article chronicles the history of how Applied Theatre has developed and formed as an overarching umbrella term that encompasses different theatrical praxis. Given the ambiguity and confusion of this practice, the article argues the importance of recognizing the Applied Theatre's shifting paradigm of subject and object, a crucial element in understanding the practice. Further discussed is the exploration of 'community' in regards to comparing the similarities and differences among Applied Theatre, Community Theatre, and Community-based Performance. The article concludes that the essential comprehension of Applied Theatre's uniqueness comes from noticing and perceiving the paradigm shift that places participants and community as a subject of theatrical transaction rather than as an object, as traditional theatre has done so far.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.107-117
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• 2019

This paper establishes and propagates the value of the play through the study of the transition process of the yesan play from 1920 to the present, presents an alternative through the unique theatricality of the region and aims to activate it. The theater divided the theater into Yecheon, Chungnam Theater Festival, and Youth Theater Festival, which are currently active, and focused on Yedang International Performing Arts Festival, which is the only one in Yesan. The details of the performance due to the loss of data were not specified as much as possible, but the contents of the yesan play before 1990 were reviewed using the eupji and Myeonji. It also starts with a lack of diversity in plays in the developing direction of Yesan. Children's plays should be dismissed for simple commercial purposes, or the value of traditional Korean plays should be compared to Western ones, to promote the development of local plays through the natural characteristics and the basis of traditional culture, and to sustain the continuity of extreme economic performance and performances through the development of repertoires. Infrastructure deployment can be cited. The in flow of specialized actors and the use of art administrators creates a stable theater environment and activates the reeducation of local actors to promote theatrical imagination. It is also an urgent task to develop a new theatrical form by introducing experimental theatrical methods of young artists in the overseas performance business of theater troupe Yechon. Finally, Yedang International Performing Arts Festival should be characterized and differentiated from other festivals.

• The Journal of the Korea Contents Association
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• v.19 no.11
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• pp.507-515
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• 2019

The positive effects of 'robot actor' born in the age of artificial intelligence on the characteristics of theater (comprehensive, liveness, duality, planning) is due to the collaboration with 'robot' engineers, which increases the comprehensive. It is possible to respond to it, so that various reaction are maintained in every performance, and enhanced illusion can be provided in 'robot' material works in which 'robot actor' plays the role of 'robot'. However, the power focused on the director can reduce the comprehensiceness, the synthesis is reduced, and the 'robot actor' cannot perform the sweat or breath of 'human actor'. In itself, duality is incomplete. In addition, there is a high risk that the improvisation within the scope of planning is likely to occur as a sudden reaction, which may limit the postponement of the 'human actor'. Based on these findings, 'philosophy', 'science' and 'art' can predict the development of artificial intelligence side by side. It is considered necessary to study to redefine the direction and identity of arts and theater that should be moved forward.

• The Journal of the Korea Contents Association
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• v.21 no.12
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• pp.842-854
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• 2021

Performing industries in Korea and abroad have been attempting a wide range of artistic experiments utilizing online platforms ever since the Covid-19 pandemic. Accordingly, this study will shed light on the functional characteristics of Zoom, which was used as a creative tool for theater performances. At first, after examining theater performances presented in Korea and abroad using Zoom and their characteristics, the production stage of the Zoom play will be analyzed by dividing it into following stages; a research-based pre-production stage, a scene workshop stage that composes each scene based on the script, a recording stage filming each scene on Zoom, and Streaming stage for presenting the show. Furthermore, the actor's approaches to acting in this production process was presumed to be separation of gaze, re-recognition of space, utilization of expressive gestures, and reaction as an active action. As a result, it proposes the possibility of ongoing development of theatrical work using Zoom and the evolutionary aspect of actor's acting approaches in accordance with theatrical work via Zoom.

• (The) Research of the performance art and culture
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• no.23
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• pp.245-280
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• 2011

One of the major streams of modern play in Korea is the work of introducing Korea's traditional ritual-'gut' into a play. Such work, together with the stream of diversification of culture, has brought about the tendency to induce 'gut' into a play in a creative way. The research on ritual plays in Korea has been done in the direction of studying the ritual plays in the West centering on the work of theoretically inquiring into histrionic features inhering in 'gut' as a ritual. This research made an analysis of the receptive aspect of rituals and histrionic characteristics presented in Korea plays through "Sanssikgim" and "Ogu" on the basis of the theory of ritual plays established by Artaud. In an effort to understand the receptive aspect of rituals, this research analyzed what forms these Korean works are borrowing from "Ssikgim gut" and "Ogu gut" while analyzing these works differently from the viewpoint of Artaud regarding characteristics of ritual plays. Accordingly, this research made an analysis of the structure and characteristic of "gut" with the aim of understanding in what form "gut" is absorbed into Korean plays by looking at the theatric receptive forms of "gut." The ritual plays in Korea originated in "gut." Likewise, the theater of cruelty by Artaud was greatly influenced by the belly dance stemming from "mudang-gut" in Asia. Accordingly, there is considerably exposed something in common between the ritual play in Korea and Artaud's theater of cruelty. "Gut" in Korea, or ritual plays are a little different from Artaud's work which makes its audience feel unfamiliar in that 'gut' or ritual plays in Korea are pursuing ritualistic quality and playing quality simultaneously, but there exists a similarity between the two in that they both desired to have communication with audiences. This researcher strongly believes that for the time to come, when the receptive aspect of the modern play assuming ritualistic quality is developed using the medium of communication with audiences, purification and play therapy, its direction will be more noticeably exposed.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.295-306
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• 2020

In 21st century, theater evolves into a complex aspects. Advanced visual media, such as photography and movies has brought crisis to theater's position, and that crisis led contemporary theater seek for distinctive strategy by repeatedly pondering over the format in which it can be more competitive than other arts. And postdramatic theatre is one of distinctive characteristics of this trend in contemporary theater. Among these flows, The aim of thesis is to study the phenomenon of postdramatic theatre and its practical application in the recently performed (2019) by Theater Group "Mul-Kyul". (2019) puts the body at the front, one of the features of the postdramatic theatre. When creating stage, or developing narratives, the process of characterization, or even highlighting dramatic themes, non-verbal focused theatrical expressions hold a dominant position over verbal expressions. Also, by combining various non-verbal elements like object, with body language, it builds a complex Scenography and creates a metaphorical expression. In this regards, I would like to classify the postdramatic theatre phenomenon shown in the (2019) into 'Disorganization of text through Scenography' and 'Collage of Body Language and Object' and consider its characteristics and meanings.

• 한국정보교육학회:학술대회논문집
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• 2006.01a
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• pp.276-282
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• 2006

정보화 사회에 이어 고도정보화 사회가 되면서 학교에서도 컴퓨터를 활용한 교육의 중요성이 날로 높아지고 있으며 학습자 서로의 도움을 중시하는 협동학습 또한 점점 더 강조되고 있다. 이에 초등학교 국어과의 연극단원을 가르치는데 학생의 발달 단계에 맞는 연극 유형을 알아보고 협동학습의 여러 모형 중 집단탐구모형에 기초하여 모둠 구성원들이 주도적으로 연극 유형을 골라 스스로 탐색, 토의 한 후 실제로 연극을 할 수 있는 시스템을 설계했다. 연극 학습의 특성상 초등학교의 교과서에 나오는 극본을 조사하고 이를 실제 학습에 활용 가능한 10가지 연극 유형으로 분류하여 학생들이 적합한 유형을 선택하거나 활용할 수 있도록 제시하였으며 가능한 동영상 자료를 중심으로 시스템의 컨텐트를 구성하였다.

• The Korean Journal of Archival Studies
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• no.20
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• pp.115-150
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• 2009

Theater is a performing art with a volatile feature which exists when it is performed on the stage by actors and disappears when it is finished. Due to its intangible characteristic It is not only impossible to just hand it down but also there is a high possibility that materials which have been produced during the preparations of performance might be lost If it was not been properly taken care. The study which has been conducted from the existing such a problem, understand produceable records, the point where the records can be produced and the main body who is in charge of the production process by analysing performing process of theater and also propose the general method of documentation of theater by introducing the method of collecting each records. Such an introduction of method would help to progress acquisition activity by setting-up documentation planning at the stage of planning theater beforehand, rather than just help to gather the corresponding records after the performance is finished.

• 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.15 no.2
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• pp.83-97
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• 2021

This study started with curiosity about theatre without its three elements and would reveal its possibility through performance and experiment and promote the expansion of each element and the development of a new form at the same time. After the occurrence of COVID-19, theatre has come up against a big limitation of contact-free, untact communication due to its inherent characteristic of 'presence.' For the survival of theatre in the rapidly changing world, it is desperately necessary to check the existing performance method and to be concerned about its development for the future. Thus, this researcher started from a more fundamental exploration of theatre focused on an "experiment of theatre without its three elements" and would sort out the three elements (actors, audience, and a play) from a macroscopic perspective. Also, the researcher would investigate the impacts of these elements on the performance and the possibility of theatre even after removing the elements through performance and experiment. This study consists of one performance and two experiments and is based on the interviews and progress details conducted by the planner and experimenter and the survey with the experiment participants. The significance of this study is its reflection on the essence of the genre, theatre, and the roles of all elements constituting that, not from a narrow perspective that would simply define the concepts of the elements but through the expansion and change of them. Furthermore, hopefully, it will be connected to the discovery of a new theatrical format that has not been considered through its combination with another genre.