• The Journal of the Korea Contents Association
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• v.14 no.1
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• pp.528-536
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• 2014

The purpose of this study was to examine the effectiveness of drama education program for elementary school students by using method of meta-analysis. For the purpose of the study, master's theses, doctoral dissertations, and journal articles published in Korea up to July, 2013 were systematically reviewed. As a result, a total of 19 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 education program were ES=1.103 of self-expression, ES=1.011 of self-esteem, ES= .858 of creativity and ES= .672 of sociality. Second, by analysing the moderate variables of the effect size for drama education program, 'sessions' were statistically significant. Based on the study results, the research and practice implications were discussed.

• The Journal of the Korea Contents Association
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• v.8 no.11
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• pp.103-114
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• 2008

The purpose of this study is to find the theatrical style in Dogville, which was the film directed by Las Von Trier. There are a lot of Brecht Epic theatre styles in plot and mise en scĿne in the film. This study try to divide into three parts of them. First of all, the film uses the defined space as a theatrical stage in the one act play. Secondly, there are some apparatuses which was presented as a stagy style in the film. From these apparatuses, the audiences can get the human's life dialectically collided against a sense of alienation. Finally, the film shows up the mime and non-diegetic sound to get an epical stream of Brecht's style. By using these elements to construct all of the film structure, the audiences can establish their one subjecthood against the idealogical empathy.

• 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.

• The Journal of the Korea Contents Association
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• v.10 no.10
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• pp.161-171
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• 2010

Peter Brook has been often referred to as the most important contemporary theater director in the West. The fact that he has directed many plays without being tied to a single theatrical theory occasionally makes people think he is a eclectic imitator. But when you carefully observe his work, you can understand that his openness is nothing else but the pursuit and examination of theatrical communication. In this context, Brook's idea reminds us of Bricolage. Bricolage has been widely known after the publication of "The Savage Minds". L$\acute{e}$vy-Strauss used the word to describe characteristic patterns of mythological thought in compared with modern scientific thought and regarded it as a system of thought that we need to restore. Director Peter Brook have sought effective ways to fill the empty space with his broad view of theatre and life. His consistent attempt reveals positive theatrical idea with the expansive possibilities of Bricolage thought.

• The Journal of the Korea Contents Association
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• v.13 no.1
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• pp.482-497
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• 2013

The purpose of this study was to develop creative drama group program for children with mental retardation. To develop this program, the study begins with and in depth examination of the prior creative drama models, techniques and constructivism theory. The style of this creative drama program for children with mental retardation is a 24 session structured program, a small group program. The techniques of this creative drama program are a orientation, warming-up, main performance, feedback and sharing. Major findings were as follows. 4 mentally with mental retardation in creative drama group program showed a significant increased social competence. Also, children with mental retardation children showed the positive social skill change through the creative drama group program. Based on these findings, implications for creative drama group program for children with mental retardation were suggested.

• The Journal of the Korea Contents Association
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• v.15 no.11
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• pp.27-40
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• 2015

Live cinema theatre is the latest installment of multimedia show where the filming of the performance of dramatic texts becomes the live stage event. Here, the actors perform before the camera and all the audio-visual effects are produced and constructed live. Mediated through the camera and projection screen, the stage image becomes a real-time production situation where all the scenes are put together right in front of a live audience. The very concept of live cinema as dramatic theatre has been developed by English stage director Katie Mitchell who attempts to present the stage as a cohesive representation system; this is more than a provisional experimentation where the ever-changing notion of in-betweenness is constantly tested. It is rather a predetermined operational system where the relationship between cinema and theatre is governed by the logic of synchrony, therefore maintain their own individual institutional reality. Here, the presence of camera has an effect not only on the organization of stage but also an affect on how human body exists within the situation.

• 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 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.

• The Journal of the Korea Contents Association
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• v.8 no.12
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• pp.207-213
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• 2008

For decades, we have filled our theme parks, shopping malls, a streets and etc. with complementary or competing medias. These spaces have remedied newspapers, magazines, radio, TV and film or have been the object for remediation. Because there has been no remediation in traditional theatrical stage design, many problems come along with the design, which makes audiences hard to feel the sense of presence. It's time to have systematic research to find a way out for the solution of traditional theatrical stage design. This study suggests the solutions for remediation of traditional theatrical stage design, so we are going to research with laying emphasis on the cooperative works between the fields of theatrical stage design and the Visual Effects par that forms extensive and diverse portions. The proposal for remediation of traditional theatrical stage design with practical use of Visual Effects will create economical higher value-added through the systematization of close and cooperative work between the fields of Visual Effects and theatrical stage design. In addition, the systematization of the cooperation of these two parts will make another communicative paradigm that audiences have never been able to experience before in traditional theatrical stage design.

• The Journal of the Korea Contents Association
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• v.17 no.4
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• pp.532-540
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• 2017

This study analyzes and compares the meaning and the value of storytelling with characteristics of the Playback Theatre, which is an improvisational play. On one side, the Playback Theatre, invented by Jonathan Fox in 1975, is an improvisational and communication-based theatre format; and it usually brings in the storytelling of audiences and often entails no play script. On the other side, storytelling requires imagination and creativity; presupposes the sympathy between the speaker and the listener. In fact, this theatre format is utilizing the educational and healing effects of verbal cultures, group sacrificial ceremonies, and/or psychodrama; and it is contextualizing them in our modern society. The Playback Theatre provides the audiences with opportunities to share their own stories within the play itself. The actors first listen to the stories of audiences; and then make them into a play impromptu, right in front of the speaker(s) and other audiences. For this very reason, it is called a "play-back". In this process, the individuals and the community are invited to experience the educational and healing effects.