• 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.15 no.4
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• pp.113-125
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• 2021

This research has the purpose to approach 'Audience participation theatre' through applying the concept of 'Hybrid' which newly come to the fore after 21st in a theatre space. In fact, 'Hybrid' has been suppling crucial power to create and pass a culture down for a long time, and it could not different to a theatre space. The hybridity in previous traditional theatre which is central 'text' and 'architectural theater' is limited movement only on the stage, such as 'an actor between presence and absence', 'a theatrical time between real and fiction' and 'an objet between An Sich(thing itself) and Fur Sich(thing with inner meaning). However after 20st's 'Avant-Garde' with 'decomposition sprit', the hybridity become broader from only on the stage to entire theatre space including auditorium caused by collapse the boundary between auditorium and stage. In other words, 'auditorium' and 'audience' are considered as 'a theatrical element' coequal with other elements, and it can create various special results through they are mixed equally. Therefore, 'Audience participation theatre' could regarded a kind of hybrid phenomenon between 'auditorium and audience' and 'actor and stage' which are most disparate relation, and it is also approached 'hybridized audience', 'hybridized space' and 'hybridized text' as a new identity.

• 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.

• 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.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.197-224
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• 2012

• Proceedings of the Costume Culture Conference
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• 2004.04a
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• pp.40-43
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• 2004

연극은 인류와 함께 시작되어 인류의 생활과 밀접한 관계를 맺어왔으며 인류의 생활을 재현하거나 인류의 바람을 표현하는 과정에서 시간과 공간을 아우르는 종합예술로 성장하였다. 세계 희극 예술의 근간이 된 3대 주류로는 그리스의 비극과 희극, 인도의 범극, 중국의 희곡을 들 수 있는데 이는 세계 연극 형성에 큰 영향을 끼쳤다. ‘희곡(戱曲)’은 중국의 전통 연극을 일컫는 독특한 용어이다. (중략)

• (The) Research of the performance art and culture
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• no.23
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• pp.159-183
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• 2011

Pansori has both the features of drama and music. In 19th century, prime time of pansori, it had balance of the features between drama and music. But after the late 19th century, pansori has lost the features of drama, and it has been changed into a music centered art performance. This is the phenomenon came from that the upper class accepted and dominated the pansori which had been a performance art of the lower class. The Korean upper class people tend to disdain drama, but to revere music. Nerremsae is dramatic action and ballim is musical gesture in pansori. In 19th century, pansori had plenty of nerremsae, which provided a elaborative symbolic system after the conventional rule of drama. However current pansori actors use only ballim except nerreumsae. Chuimsae like 'ulssigu' is the way to participate in pansori by audience. The actor provides the space for the audience to fill it after inducement by drummer. Through the chuimsae, actor, drummer, and audience share the sympathetic emotional experiences. However the audience in these days do not do chuimsae, but do applause like in western dramas. In western dramas, distinction between tragedy and comedy is relatively clear. The tragedy is constantly tragedy, and the comedy is also constantly comedy. However joy and sorrow are coexisted in Korean pansori. These two contradictory emotions are collided and produce a new strong emotion in a pansori. This is one of very important feature of pansori. Even though each of tragedy and comedy reveals the only one side of life, pansori comprehensively reveals a total human life. However these strong emotions have been much weakened nowadays. Currently pansori has been much declined. For restoration of pansori, it is necessary to revive the drama side in pansori performances.

• The Journal of the Korea Contents Association
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• v.21 no.12
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• pp.765-790
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• 2021

The affection-image is the close-up of the face with real connections in space-time, or with virtual conjunction, outside spatio-temporal co-ordinates. The close-up can carry its own space-time in background. with deframing and fragmentation, Space itself has left behind its own space-time connection and become any-space-whatever that is the affection-image. The elements of any-space-whatever are the shadows, lyrical abstraction, the colors, the disconnected parts, the empty space. Deleuze examines any-space-whatever through the close ups, fragmentation of space and de-framing in Dreyer and Bresson's cinema.

• 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.

• 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.