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

• Journal of Korean Theatre Studies Association
• /
• no.40
• /
• pp.401-450
• /
• 2010

This thesis purposes to suggest that creative stage directors have copyright ownership and we make them create high-quality of theatre direction. Stage directors are sincere creator of the theatre stage today. We have little judicial precedents about stage directors, no artistic examination related directing. Stage directors are performers who have neighboring rights, there is a problem that they won't have the exclusive right of making derivative works in this country. Others will make creation (such as cinemas, animations, novels) based on stage expression without permission, because stage directors don't have exclusive right of making derivative works. Copyright law can't protect the concept of stage directors and building blocks of them which are drama text, actors and theatre space, because copyright law don't protect idea according to idea/expression dichotomy. The expression of stage direction is belong to five fundamentals which are composition, picturization, movement, rhythm, pantomimic dramatization that are come from Dean & Carra's work. Directors' work is to make theatrical works based on literary works. Therefore, theatrical works are derivative works which based on drama texts. Also, theatrical works are able to be joint works. In the case of that stage directors write drama text and create expression on the stage, they have to own authorship of both works. Merger doctrine should not apply theatre directors' works strictly like any other functional works because stage directors usually create noble expression which have been not before. We need shift of the definition of theatrical works which are derivative works or joint works to protect theatre directors' creativity. Hereafter, the special legal section for dramatic(theatrical) works including the flexible legal definition for performing arts should be established, and 'contract form' for stage directors should be made. Acting edition(literary works) should be published to grant creative directors compensation. I emphasize to grant ownership of copyright to creative stage directors, to encourage directors' works. Therefore, copyright law will be the support for development of cultural arts institutionally.

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

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.1
• /
• pp.11-24
• /
• 2019

In this article, potential problems in the exchanges and collaboration of South and North Korean performance programs were reviewed focusing on the articles related to performances in the North Korean copyright law. In the North Korean copyright law, there were significant differences from the ordinary rules in the international society or lack of the rules. They are the problems on the bases and principles of North Korean copyright law, unacceptance of copyrightable works against their political system, equal and mutual benefit on the copyright of the South Korean copyrightable works, neighboring copyright and economic right, unlimited protection for moral right, unpreparedness of right protection for online copyrightable works, and so on. On the other hand, the available performance programs to exchange mutually between South and North in the short run include national operas, dramas, musicals, festival events, and so on. However, legal and systematic improvement plans are required on the different copyright rules between South and North to facilitate the exchanges and cooperation. Externally, collaborations are required in the international copyright stage such as collaborative agreements on various international copyright usages, and we should consider the global entrance of performance programs that contain national sentiment and develop mutual trusts through these.