• The Journal of the Korea Contents Association
• /
• v.20 no.4
• /
• pp.49-61
• /
• 2020

Recently, the convergence of genre-mixed collaboration and technology-mixed collaboration in performance art strategically fuses different goals and different properties, satisfying anticipated demand, and developing into experimental forms that bring out convergence contents of new value. To supplement problems of convergence attempts and heighten levels of completion, the effective collaborative processes of media experts must be studied and improved. This thesis attempts to study effective collaborative production plans of convergence performance that correspond to the demands of the times through multimedia convergence performance prototypes(Live performance play + Pre-made digital animation). It categorizes performance production processes into pre-production and production and researches the effective collaborative production processes of convergence performances that utilize these two forms of media through work selection, production direction establishment, human resource constituents, production schedule plan establishment, visualization processes, and performance practices and rehearsals. Continuous research must be conducted based on convergence performance contents planning, changes in production methods, and an understanding of distinct characteristics among convergence contents for the industrial development systemization and vitalization of convergence contents to be made possible.

• The Journal of the Convergence on Culture Technology
• /
• v.9 no.5
• /
• pp.697-706
• /
• 2023

This study examines the history of string quartet performances and analyzes contemporary integrated performances to propose a new performance paradigm for future audiences. It examines past developments and audience interactions, and how modern classical performance can gain a competitive edge internationally through tech integration. Building on this foundation, a future vision is proposed for Korean string quartet performances, drawing from novel performances that are interconnected with their historical context. The study concludes that modern string quartets necessitate innovative and original performance directions that can be achieved through various technological integrations.

• (The) Research of the performance art and culture
• /
• no.22
• /
• pp.45-61
• /
• 2011

Performers of 'Seoul Jinjinokigut' point to aesthetics of performance centered on sense of sight, not sense of hearing. 'Seoul Jinjinokigut' is a kind of theatrical mode of performance, not narrative mode of performance. Performers of 'Seoul Jinjinokigut' succeed in making of relationships of harmonious fusion between 'social drama' and 'stage drama' through performing of Jinjinokigut. 'Seoul Jinjinokigut' is a kind of mode of performance that fuses life and death, not narratively but theatrically.

• The Journal of the Korea Contents Association
• /
• v.16 no.1
• /
• pp.241-255
• /
• 2016

This study aims at examining the making and distribution course of performing arts and its converged form with technology and industry in terms of the Contents Promotion Act. Since the 2000s, the inter-area contents making and sharing methods have been changing the making and distribution structure of performing arts. The recent production of performing arts contents live videos extends the areas of arts creation and communication beyond the time and spatial boundaries of performing arts and changes the existing systems. The performing arts which started with nowness and spatio-temporal restriction on the premise is now creating a new platform over the spatio-temporal boundary through the live video. Performing arts, in convergence with the areas of technology and industries, expands universal approaches and shows the public value of cultural fairness at public performing arts centers. In this context, this study aims at seeking the possible extension of performing arts contents by examining how the so-called high-class performing arts such as opera, theatre and classical music combines with the visual industry.

• Journal of Industrial Convergence
• /
• v.22 no.3
• /
• pp.13-25
• /
• 2024

This study explores research topics related to dance performances published in Korea based on big data and examines research trends that change according to the trend of the times. The results derived from topic modeling analysis are as follows. (1) Six major topics were derived: a study on marketing strategies and development plans for dance performances, (2) a study on the re-watching factors of dance performance space and performance satisfaction, (3) a study on the popularity and contribution of dance performances in the stage environment, (4) a study on the current status of dance performances and the convergence of dance group operations, (5) a study on the definition of dance performances using various social media, and (6) a study on the direction and development of technology-applied dance performance contents. Accordingly, research trends and topics related to dance, including dance performances, social changes, key keywords of researchers' change interests were extracted, and keywords were compared and analyzed to present academic changes and countermeasures. Accordingly, the need for research to apply new technologies was emphasized as it diversified and fused.

• The Journal of the Korea Contents Association
• /
• v.19 no.5
• /
• pp.562-571
• /
• 2019

The expansion of the performing arts market to include new genres of art that combine art and cutting-edge media technology has surpassed the limitations of traditional theatre art elements such as stage, costumes, lighting, sound, and props, allowing free expression of space-time and visual art. It is growing into a wide area with unlimited potential in the performing arts sector. In response to these changes and the demands of the time, there is an increasing demand for multi-talents who can plan and produce arts and technology-converged contents that will contribute to the development of the performing arts industry. As a result, university departments related to theatre art across the country feel that it is urgent to develop curricula that will enhance students' competency by incorporating the latest media technologies such as virtual reality, holography, and interactive motion sensors into the existing performance art visualization process. In this study, the author will examine the process of developing courses in technology-incorporated theatre art (design) through case studies of media technology-converged performances from the past 10 years. Based on the traditional concept of theatre art, the attempt to fuse stage art with media technology will be a cornerstone of attempts to foster a group of talented artists who transcend the limits of creative visual expression and creative value.

• Journal of Broadcast Engineering
• /
• v.21 no.5
• /
• pp.672-688
• /
• 2016

This paper confirmed the roles of images of performance arts, through an analysis of the performance arts realizing media augmented reality, and proceeded audience studies through t-test for verifying the results. As a result, the images used for the performance arts interacted with the audiences through mixing of media, and led to satisfaction for the performance through strong flow and understanding. For some parts, however, an indiscreet use of images caused audiences, who are still familiar with traditional performance arts, to react exclusively toward the media. Eventually, at this time trying new change, convergence media performance arts with images need to orchestrate performance arts and media, so that multiple audiences can easily understand and enjoy, and make an effort to let the audiences get satisfaction based on various experiences. For this, a producer should dedicate to create strategic performance arts contents that can provide professional new knowledge and information, considering even audiences' recognition, as well as their perceptional and psychological characteristics.

• Journal of the Korea Convergence Society
• /
• v.8 no.5
• /
• pp.145-153
• /
• 2017

As success stories of using virtual reality (VR) have become more prevalent, interest in performance-related technology has rapidly increased around the world. Performances such as, Cirque du Soleil had much success in using video technology, these VR applications have enabled experiences using digital image technology. However, critics have claimed that the completeness and diversity of visual content is reduced, due to insufficient storylines, spatial composition, and partial use of the entire visual field. Therefore, the design of a performance using digital image technology should consider the characteristics of the production stage to be different from real world performances. In this study, the visual space of the stage, the method of creating space for the stage, and the movement of the performer and utilization of the performance was analyzed. Through this, It transferred the limitation of the traditional stage into the space and time of the image and opened the possibilities of the tran­-media.

• Proceedings of the Korea Contents Association Conference
• /
• 2018.05a
• /
• pp.297-298
• /
• 2018

현대예술에서는 장르의 통합, 형식의 파괴 예술과 디지털과의 융합 등 다양한 매체들이 서로 섞여 다각적으로 활용하게 되었다. 영상미디어와 무용의 융합은 앞으로 예술발전에 그 기능의 효과를 최대화하고 새로운 영역으로의 발전가능성이 제기되고 있다. 본 연구는 무용에서의 영상미디어 도입과 활용의 발전과정을 살펴보고 작품 제작과정을 통하여 공연에서의 영상 미디어 활용에 따른 표현의 극대화 추구가 앞으로 공연예술에서 다양한 표현으로 해석될 수 있는데 목적이 있다. 연구결과는 다음과 같다. 첫째, 영상 미디어 활용효과는 작품의 리얼리티를 더하고 움직임이 표현하고자 하는 것을 장면전환과 함께 효과적으로 전달 할 수 있게 됨을 알 수 있다. 둘째, 무용 공연에 나타난 영상미디어 활용효과는 공간의 범위를 조절할 수 있고 무대공간을 유동적으로 확장시킴으로 자유로운 표현이 가능하다. 따라서 무용과 영상미디어의 융합은 새로운 무용의 이미지 개발에 기여하고 움직임에 있어서 독창성을 극대화시킬 수 있다.

• Journal of Industrial Convergence
• /
• v.18 no.4
• /
• pp.1-8
• /
• 2020

The case of Dance Chang-jak-san-shil, a dance performance support project linked to digital media, was analyzed from the perspective of liveness. The purpose was to examine the limitations of the liveness and to suggest ways to overcome them. The research case was focused on the factors of the time and space and audience (the sharing of field and acceptance experience) of the creative production room that supports works based on the creativity of dance performances. As a result, active SNS for accessibility of performing arts, expansion of access to art through the use of teaching media of art education through archiving, multi-dimensional access and provision for inducing audience participation and creative appreciation in one-way digital media transmission, provision of copyright protection devices, and audience to enter offline. As a long-term strategy for the future of the performing arts field, I would like to present the need for a change in the communication with the audience and experimental works that combine art and technology.