• The Journal of the Korea Contents Association
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• v.20 no.6
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• pp.267-278
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• 2020

Although the theater performance industry is a typical cultural content industry, the support at the national level has been poor and the theater workers tend to focus on individual efforts rather than active interaction with the theater environment. Therefore, there is a growing need for effective revitalization of the theater industry, which should be found in improving the quality of interaction between the theater and the theater environment. Therefore, the purpose of this study is to analyze the effects of theater actors (theaters, theater organizations) on the activation of plays by the interaction of politics, business, and technology, the main environment of the plays. For this, social network analysis was performed. As a result of the study, it was found that mediation centrality significantly influenced the visibility of theater actors. This means that the more the theater actors are at the center of information and resource flows to the elements of the theater environment, the more visibility becomes. This shows that the theater must actively acquire technology, create an avant-garde, and endeavor to expand its influence and outreach through active interaction with politics and corporations.

• 한국HCI학회:학술대회논문집
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• 2007.02b
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• pp.484-488
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• 2007

연극이라는 것은 복합적인 표현예술장르로 하나의 요소가 아닌 여러 가지의 요소들아 합쳐져 연극이라는 예술작품을 만들게 되어 있다. 현대의 연극공연에서 영상의 비중은 날로 높아지고 있다. 무대 공간의 공간감, 협소함, 표현의 제약 등을 따져 볼 때 그것은 당연한 이유일지도 모른다. 연극이라는 것은 최종적으로 배우와 관객과 함께 호흡할 때 완성되는 것으로 배우의 연기에 따라 영상도 실시간으로 반응할 수 있어야한다. 이러기 위해서는 영상뿐만 아니라 배우와 인터렉션할 수 있는 영상의 제어 또한 상당부분 생각하지 않을 수 없다. 그리고 무대의 뜨거운 조명과 그 아래의 영상은 같은 빛으로 만들어진 작품이기 때문에 빛이라는 환경적 요인에서 벋어나지 못한다. 그 밖의 스크린의 존재와 무대의 조형물과의 조화 등도 생각해야 한다. 하지만, 연극의 성공은 관객의 몰입정도에 따라 결정된다. 몰입요소는 음악, 배우, 무대 등의 기존 연극요소가 있으며 여기에 영상 활용은 관객을 더욱 연극으로 몰입시킬 수 있는 또 다른 중요 표현방법이 된다. 그 영상의 활용방안과 문제점은 현재 여러 기술과 방법으로 해결되어지고 있으며, 연극에서 사용되는 영상은 더욱 발전 가능성과 활용 가치를 가지고 있다. 본 논문 이러한 대중문화인 연극에서 공간에서의 영상 미디어 활용의 중요성과 관객의 몰입에 관한 발전 가능성에 대한 연구이다.

• 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.

• Cartoon and Animation Studies
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• s.41
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• pp.379-405
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• 2015

The purpose of this thesis is to seek the methodologies for forming the fandoms of the Theatre. For the research, I explain by giving the example of the K-POP, of which the fandom has already been spread. Afterwards, I describe about the items which can substitute the plays and about the limits. By escaping from the passive consumptions, the fandoms have been expanded to the domain in which the culture is reborn. The cultural activities of the fandoms have come out of simply liking the fans, and the domain has been widened to the social activities. In the case of the K-POP, it has gone beyond Korea and has the fandoms in the whole world. Regarding the reasons why the fandoms could be formed in relation to the K-POP, firstly, it is because the project-type stars made by the large-scale agency had existed. Secondly, it is because the methods of accessing the contents had become simple through the online proliferation, such as the YouTube and the SNS's. Lastly, it is because the cultural activities of the fandoms give the joys, thereby continually maintaining the fandoms. If this is substituted for the Theatre, in the case of the Theatre, in order for the large-scale agencies to make the plans for and train the actors and the actresses, there are, somewhat, the excesses. However, if a PR method suitable for the online environment is developed and if the common joy is given to the audience of the Theatre, there is the possibility that the fandoms can be invigorated regarding the Theatre. Although, with regard to the K-POP and the Theatre, there exist the differences between the contents, if the methodologies of the K-POP fandoms, which have invigorated the fandoms and have been managing stably, are substituted for the plays, the invigoration of the fandoms is possible regarding the Theatre, too.

• Journal of Practical Engineering Education
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• v.16 no.2
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• pp.251-257
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• 2024

After the pandemic, the world has brought about a society that connects to digital content faster. In the performing arts world, technology is also changing the production environment, content, and format of works. In addition, theatre and performances linked to digital media and virtual reality continue to be actively developed and increased. This paper first diagnoses how theater and acting education are meeting consumers(students) in a time when these changes progress rapidly. In the post-COVID-19 era, a crack began in the traditional method of education. We look at the existing problems of traditional education of theatre and acting in detail and look at the points of change from the changes in the virtual world and digital media environment. In conclusion, post-pandemic theater and acting education needs to shift to a consumer-centered paradigm.

• 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.

• 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.

• 지역과문화
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• v.7 no.1
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• pp.27-57
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• 2020

This study focuses on the culture-based revitalization strategy in creative rural areas. To this end, we first summarized the concept of creative village, which has been discussed in Japan and the West. Also, based on the relationship between them, we proposed a revitalization model of creative villages through the culture and arts. In this process, the concept and relationships were examined in detail through the example of Miryang Theater Village in Miryang. In addition, this study analyzed the problems of Miryang Theater Village and applied it to the concept of creative village and suggested an alternative. Through this process, we reconsidered the meaning and possibility of cultural arts in the creative village. And, it was confirmed that the cultural arts could be realized through the balance and organic linkage between the elements of creative villages in order to localize them in combination with the regional specificity of rural areas.

• The Journal of the Korea Contents Association
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• v.13 no.2
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• pp.147-156
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• 2013

It is almost impossible to keep the exact documentations of veterans' works due to the fastidious and convoluted nature of this particular field. The histrorical recordings of Korean Theater in general has been improved due to growing educations of staffs and actors through theatre associated universities But the need of preserving the recordings of veteran actors has not been recognized enough, therefore their precious assets has been lost, which is such a regretful truth. However, with the necessity in mind, the following study is focused on Gil-ho Kim, an actor, playwright, director, and his works on 'Namdo-Mokpo-Plays'. Comparisons will be made, focusing on these plays, between his life as an actor and the meaning of documenting a veteran actor's assets.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2013.06a
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• pp.56-57
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• 2013

본 논문에서는 연극공연을 관람하는 관객의 반응정보를 수집하기 위하여, 청각센서를 통해 관객의 음성을 획득하고 획득된 음성에 대한 감정을 예측하여 관객 반응정보 관리시스템에 전송하는 음성신호 기반 감정인식 시스템을 구현한다. 이를 위해, 관객용 헤드셋 마이크와 다채널 녹음장치를 이용하여 관객음성을 획득하는 인터페이스와 음성신호의 특징벡터를 추출하여 SVM (support vector machine) 분류기에 의해 감정을 예측하는 시스템을 구현하고, 이를 관객 반응정보 수집 시스템에 적용한다. 실험결과, 구현된 시스템은 6가지 감정음성 데이터를 활용한 성능평가에서 62.5%의 인식률을 보였고, 실제 연극공연 환경에서 획득된 관객음성과 감정인식 결과를 관객 반응정보 수집 시스템에 전송함을 확인하였다.