• The Korean Journal of Archival Studies
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• no.29
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• pp.35-78
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• 2011

This study is intended to recommend for acquisition methods of the theatre collection. Theatre activities is representative of the performing arts, and the Korea theatre history start from the modern history of Korea. In the meantime, theatre collections has already been lost by a lack of effort and management, and scattered most of the collections. In particular, a one-off nature and volatility of theatrical performances make future generations to enjoy the performances and to study should consult the relevant records. Therefore, collecting records can be very serious mission. In this study, theatre collections of the country which aims to collect and analyze the characteristics and type of theatre collections. Based on this information, collection scope, targets, priorities, acquisition level, method of collecting are proposed the following. First, collection scope is defined for the theatre related collections which was performed nationwide in the 1900s, the times that modern theatre was begun. The object includes related information of planning, administration, drama (script), directing, stage design, public relations, production, evaluation, personal records, biographical data, group data and space data. Second, the theatre collections are divided into records and historical records. Priority of collections object is determined by the historical value and the theatre performed by the support of public organization. Third, the acquisition level is divided into archived, mirrored, web linked and database, which is proposed by the determined levels of mandatory, recommend and discretion according to the characteristic of performance. Fourth, acquisition methods are suggested by the general acquisition methods of transfer, donation and purchase as well as the methods of copy, production, legal deposit, entry and web link etc. The acquisition of theatre collections is executed on digital-based environment, and a centralized authority control should be establishmented. And through the development of network with theatre's stakeholders and the cooperation of related organizations, theatre collections acquisition is feasible.

• The Journal of the Korea Contents Association
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• v.21 no.11
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• pp.234-242
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• 2021

The purpose of this study was to examine the effectiveness of drama therapy in Korea by using method of meta-analysis. For the purpose of this study, master's theses, doctoral dissertations, and journal articles published in Korea up to June, 2021 were systematically reviewed. As a result, a total of 18 studies were eligible for the inclusion criteria. The mean effect sizes and test for homogeneity of effect size(Q-statistic) were analyzed by using Comprehensive Meta-Analysis Software 2.0. The main findings of the study were as follows. First, the average effect sizes for drama therapy were ES=1.325 of self-esteem, ES= -1.230 of depression and anxiety, ES= 1.025 of stress, ES=1.018 of sociability, Es=0.907 of emotional intelligence, ES= 0.897 of psychological wellbeing. Second, by analysing the moderate variables of the effect size for drama therapy, 'adult', 'the number of session' 'performance based drama therapy' of self esteem were statistically significant. Based on this study results, the drama therapy research and practice implications in Korea were discussed.

• 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.

• Proceedings of the KSLP Conference
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• 2003.11a
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• pp.137-137
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• 2003

본 연구는 직업적 음성 사용자인 연극 배우의 음성 관리, 극중 인물 특징을 표현하기 위한 요소 중 음성이 차지하는 비중과 적합한 발성 및 발화 방법에 대하여 살펴보았다. 본 연구에는 대구광역시 소재 K극예술연구회의 연극 배우 9명이 참여하였다. 연극 배우의 음성 관리 및 극중 인물의 특성을 표현하기 위한 발성 및 발화 방법에 대한 설문지를 작성하여 조사하였다. 여러 가지 인물에 적합한 발성법으로 '산책' 문단을 발화하도록 한 뒤, 대상자들에게 각 인물에 대한 발성 방법을 설문지에 기록하도록 하였다. 대상자들이 발화한 음성 샘플을 음향학적, 지각적 측면에서 평가하여 대상자들이 기술한 발성 및 발화 방범과의 상관을 살펴보았다. 음성 샘플은 Windows용 Praat(4.1.7)으로 수집 및 분석하였다. (중략)

• 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.22
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• pp.123-155
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• 2011

This study aims to closely read Kim Jong-il's "About Stage Drama Arts" and disclose the new reality as evaluated by him. The study took the method by which to compare Kim Jong-il's theory on drama and North Korea's drama theory in the 1950s, and the findings of this study revealed that it was irrational to grant the adjective "new" to Kim Jong-il's drama theory. This is because tradition inheritance and newness cross each other. First, his tradition inheritance aspect was found in his playwriting method. In playwriting method, Kim Jong-il's argument about characters and language is an extension of the 1950s drama theory, and his theory on JongZa(seeds) is the transformation of the concept proposed in the 1950s. Also, the expression means of dramas and drama arts is dialogue, and his guideline to focus on the art of conversation rather than on acting is interpreted to be a reduced concept of drama arts, compared with the 1950s drama theory. On the other hand, his newness aspect can be clearly discovered in the materialization of stage. The fixed stage background, without dark change, shifts to another situation as it is, and this stage setting is clearly distinguished from the previous stage setting. The attempt is worth highly evaluating to allow the stage to reflect actors' emotional flows and let them act. Also, the attempt is distinctively distinguished from previous drama theories to allow the chorus' positive involvement in dramas so as to directly deliver characters' emotions to the audience and to trigger the audience' response as intended by creators. From the perspectives of drama evaluation, Kim Jong-il's theory and practice regarding stage and music is understood to maximize the audio-visual effects. Therefore, Kim Jeong-il's drama theory, as he argues, is not a completely new theory, but a transformational inheritance of existing drama theories, and a creation theory with focus on expansion of spectacles.

• (The) Research of the performance art and culture
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• no.36
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• pp.553-584
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• 2018

In order to succeed to the 'Traditional Play Series 1~9' by Prof. Sa Jinsil, this article sought the contact points between the traditional drama and the elementary drama education that Prof. Sa Jinsil held. The educational perspective of the prof. Sa Jinsil is reflected specifically in the seventh and eighth volumes. However, these educational perspectives are similar to those presented in the 2015 revised curriculum. It is also similar to the cultivation of humanities through theater education. In other words, the similarity is confirmed in that the target is creativity-interdisciplinary type human. The foresight of the prof. Sa jinsil in the education for creativity-interdisciplinary type human is confirmed. On the other hand, in order to cultivate creativity-interdisciplinary type human, it is also required to cultivate the ability to 'fun speaking' as well as 'logically speaking'. In this regard, I presented Jaedam, one of the Korean traditional plays, as an alternative. The reason for this is as follows; (1)It is possible to succeed Korean traditional theater performance style through regular class. (2)Students can develop emotional and empathy skills through fun speaking education. (3)Students will develop persuasive storytelling skills. At this time, the traditional play series 1~9, which contains the works of Prof. Sa Jinsil, and cultural ideas and educational ideas, will be useful.

• (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.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.211-219
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• 2021

Chinese Tibetan Opera is a highly comprehensive drama type, which combines the educational aesthetic characteristics of the realism of Western drama and the freehand of Chinese opera, including mask play, square play, ritual play and religious play. Tibetan opera, as a kind of local drama, has high research value, which is determined by its educational aesthetic characteristics. The world's three major dramas include Sanskrit dramas in India, tragic-comedies in ancient Greece and Chinese dramas, which have different forms of expression and educational aesthetic characteristics. Because of the particularity of its birthplace, Tibetan Opera inherits some of the three forms of the above three dramas. Ancient Greek tragedies originate from the sacrificial ritual of the god of wine. In the early ceremonial action performances, the actors were all men and needed to wear masks to perform. In Tibetan opera, men also play a role in masks, which are originated from the folk totem dance and religious pantomime music and dance. Due to the long history of Indian Sanskrit drama, except for the relevant records in dance theory, the specific performance form can not be verified. However, according to the relevant records in dance theory, the three characters "Wenba", "Jialu" and "Lamu" in the opening play of Tibetan opera are similar to the "concept character play" in Sanskrit opera. Tibetan Opera is a very important part of traditional Chinese opera, which inherits the educational aesthetic characteristics of Chinese opera.

• The Journal of the Korea Contents Association
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• v.16 no.11
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• pp.707-715
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• 2016

The most important role of actors is to transmit the thoughts and feelings to the audience or viewers. The expression methods of acting of each genre are clearly different. In order for the actors to act, crossing over the boundary of each genre such as movies, TV, dramas, musicals, they should understand the characteristics of each of the subdivided genres. If they understand the characteristics of the acting method different from one another and acquire the expression method to adapt to the spatial circumstances of each of the media, it becomes freer to act, crossing over the boundary of each of the genres. For the sake of this, actors must understand and acquire the characteristics of each of the genres. First of all, it is important to understand the difference between acting in the media and acting on the stage and to understand the characteristics of each of the genres.