• (The) Research of the performance art and culture
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• no.32
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• pp.71-106
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• 2016

This study analyzes the current work of the traditional theater around 'Back Parkcheomji(season2)' of theatre troupe 'Saninomou'. 'Back Parkcheomji(season2)' has proved that it is possible modernization while at the same time preserving the traditional theater. As a result, 'Back Parkcheomji(season2)' regained the spirit of contemporary social criticism and reality inherent in Kokdugaksinorum. The performance are beyond the traditional production method, which has created a new performance aspects. 'Back Parkcheomji(season2)' has created the puppets like this 'Kimga' 'Seweolho' 'Ryukbang' 'Chourani'. Traditional and creative dolls has criticized our modern society at the same stage. On the other hand, plays such as tightrope, Pungmul, Burna confirmed the spirit of Namsadangpae, and gave a dramatic fun. 'Back Parkcheomji(season2)' has dual stage. The dual stage will produce a magnificent spectacle, and has provided a variety of attractions. 'Back Parkcheomji(season2)' re-created the traditional theater of Namsadangpae in vivid contemporary version. The performance has made the opportunity to think again about the value of classical and allowed to recognize the new phase of classical theater.

• (The) Research of the performance art and culture
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• no.33
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• pp.273-301
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• 2016

In this paper, it is entraining surface and the historical flow of Japanese flying acrobatic, look and lore situation up to now, as compared to this, restore our Sotte riding, trying to provide a clue of hatching in order to reproduce. In particular, the tricks to raise the rod into the body is sublimated to the big festivals of the region, focused on Akita Kanto festival was devised by one of Japan's northeastern 3 major festivals. As a typical traditional performance festival with a history of more than 200 years, the same manner as was sublimated as a professional performing arts and folk arts, actively protect the traditional performing arts, and lore, this representative of the regional festival It has a great meaning in that it was successful. That the order to act strongly cooperation of the public and private sectors to be highlighted on the whole surface of the strong act is acrobatic nature to the main content of the festival, of course the identity recovery of the region, also serves as a proud representative of the region it is also very significant. Want is greater place to suggest to researchers who want to take over the pulse of the tradition correctly restore the future Sotte ride.

• (The) Research of the performance art and culture
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• no.20
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• pp.163-204
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• 2010

"Nectar of Immortality", also known as Suryukwha, is a painting which is hung on the wall during Suryukjae, a rite to console the spirits residing on both land and water. The Suryukwha at Bonyung Temple in the Ming Dynasty consisted of 139 scrolls depicting separate scenes. In Korea, however, Nectar of Immortality combines all the scenes into one large painting. The lower part of Nectar of Immortality describes pain, disasters, and the frailty of human life in this world. This is intended to inspire people to embrace Buddhism and be delivered from their worldly existence. However, it reflects the social realities of that time as well. The scenes at the bottom of the painting of nomadic troupes of entertainers and their performances are part of this reflection. In this section, various scenes of traditional Korean performance are illustrated, such as double and single tightrope walking, Sotdaetagi (performing atop a pole), Ssangjulbaegi (one form of Sotdaetagi), tumbling, bell juggling, mask dramas, dish spinning, puppet shows, the dance of Sadang, and sword dancing. Among these performances, some, such as Sotdaetagi, Ssangjulbaegi, double tightrope walking, bell juggling and sword dancing (Punggakjaengipae), have since ceased to exist. The troupes of entertainers depicted in Nectar of Immortality are Sadangpae, Namsadangpae, Sotdaejaengipae, Choranipae, Punggakjaenipae, Gutjungpae, and circus troupes. When, after itinerant lives, these entertainers die, they become forlorn wandering spirits with no descendants to perform their memorial services. The entertainers in the performance scenes are the embodiment of souls who are the subjects of salvation through Suryukjae. Among these entertainers, Sotdaejaengipae, Sadangpae, Choranipae, Punggakjaenipae and Gutjungpae no longer exist. In sum, Nectar of Immortality provides insight into the vanished content of numerous historic forms of performance and the activities of nomadic troupes of entertainers.

• (The) Research of the performance art and culture
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• no.35
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• pp.175-202
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• 2017

In this article, I focused on the identity of the Japanese magician, Tenkatsu(天勝), who appeared in Exhibition of Joseon, 1915, and the social gaze and reverberation of them. I would like to see how Tenkatsu group appeared, how it was active, and how it was utilized. Because It was a big stimulus for traditional performing artists. 'Ma-sul' was a new word, taking the place of 'Hwan-sul(幻術)' or 'Hwan-hee'(幻?) for a term of english 'Magic'. In the various articles published during the Japanese colonial period, we can find the performers of the contemporary magic and the Korean artists who tried to make them nationalized. In the mid-1920s, a magician of Korean origin appeared. Kim Mun-phil(김문필), Park Chang-sun(박창순), Kim Wan-shil(김완실) were them. They had experience of studying abroad, such as Russia, and were also helped by religion, the Chondo-kyo. They attracted popularity while touring around the country. Incidents of social problems often arise by linking magic to a form of fraud, though. But the appearance of a Korean magician confirms the existence of a performer who actively engages in new performances.

• (The) Research of the performance art and culture
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• no.32
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• pp.371-397
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• 2016

The function of the Duhak nongak(農樂) in Jecheon consist of Ceremony, Labor, and Entertainment. Before the commemorative rites for village god village people beat a small gong. This is a evidence of the drive away evil spirits in New Year's Eve of the lunar year. Before harden house site village peoples beat musical instrument noisily. In order to press hard the god of the earth they play musical instrument. Musical instrument not a simple musical instrument, but a purify and wish tool. When weeding a rice paddy Durae organized in Sangpung village. Durae are less effective than communal sharing of labor in weeding effect. Nonetheless, Nongak carried out core function in Durae. In order to participate Nonngak concours, peoples made a Pangut. From independence to 1970s people combine traditional nongak and Pangut. Since then village people played Pangut. From 1990s Pangut was played by Duhak Nonngak Preservation Association. Through the participation Nonngak concours, Duhak nongak was regrouped. Finally this nongak prepared Taeguk-jin, Snail-jin, Cross-jin, Sabang-jin, Sanggyeonrae Bans anggyeonrae-jin, Palbang-jin, Rope making and individual play. Duhak Nonngak promptly met the needs of the times. So, they could play Pangut. The feature of the Duhak Nonngak is that active cognition, highly skilled musician a patron and scouting a competent leader.

• (The) Research of the performance art and culture
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• no.37
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• pp.249-293
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• 2018

The Musical Theatre was a popular art genre that originated from the western musical tradition represented by the European opera. In the twentieth century, it bloomed around Broadway in the United States. It is also one of the commercial arts which is popularly loved by the public in the field of performing arts all over the world at present. Due to the nature of this genre, the development of dramas and the expression of characters use music, not words or gestures, as the main medium. And the style of music reacts sensitively to the taste of the public, not to a particular class. When Japan colonized Korea, the empire strongly believed modernization equaled westernization and Japan was the one who could awaken Korean. The Japanese colonial music education was intended to bring cooperation and obedience to Japan by forcibly injecting Japanese ideology and culture into Joseon people. The music education of colonialism with the textbook of the "Songs for public education(보통교육 창가집)" compiled by the Japanese government was a sparkstone for the conversion of the Korean musical identity to Japanese and Western music. In addition to the capitalistic economical mechanism for establishing a South Korean government friendly with the United States during the Cold War after liberation, and the rush of American Pop culture represented by 'the show stage in 8th US Arm' and 'movies' which are to be the influence of invisible 'new cultural imperialism', our traditional music was confined to the meaning of 'Korean music', meaning 'past music'. In Korea, after the liberation, the musical was introduced by the influx of American popular culture. In accordance with the cultural policy of Park Jeong-hee regime, which aimed to spread the 'healthy culture' through the modernization of traditional arts, 'The Yegreen(예그린악단)' was founded. However, the plan to create a contemporary performing art based on Korean national arts showed the possibility of success in 1966 with the success of , but soon after, they have been destined to fall into an institution that has lost their ability to operate on their own due to the suspension of the sponsorship of the regime. Due to the cultural imperialist strategy of the influence of Japanese imperialism's colonial music education and influx of American popular culture after liberation, in the early days of Korean musicals, our traditional aesthetic style brought about the situation of the 1960 's, which did not become an independent ethnic art through the exchange and expansion with Western music. This is the background of the western licensed musicals led by the Korean musical market in the 21st century as well as the main cause of musical creation based on western music.

• Proceedings of the Membrane Society of Korea Conference
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• 1998.10a
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• pp.70-72
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• 1998

1. 서론 : 최근에 폐수나 지하수 및 음용수에 존재하는 휘발성 유기화합물(Volatile Prganic Compound, VOC)는 심각한 환경오염이 주범이 되고 있다. 이러한 문제를 해결하는 방법으로 흡착, 증류, air stripping 등의 여러 가지 분리기술이 제시되어 왔다. 그러나 전통적인 방법들은 분리된 오염물질이 제2의 상으로 전이된다는 점에서 또 다른 분리공정을 필요로 하는 단점을 지니고 있다. 이에 반해 투과증발공정은 추가적인 분리과정이 없이 효율적으로 오염된 물속의 유기용매를 제거한다는 점에서 많은 관심을 모으고 있다. 이미 알려진 이러한 VOC 제거에는 소수성이면서 고무상인 고분자가 우수한 특성을 가지는 것으로 밝혀졌고 그 중에서 실록산계 고분자가 아주 효과적인 것으로 알려져 있다. 그러나 이러한 실록산계 고분자는 기계적 강도가 약하여 필름의 박막형성능력이 떨어지는 것으로 알려져 있어 이러한 단점을 보완하기 위해 가교구조의 도입이나 공중합체의 구조를 도입하는 연구가 많이 수행되어 왔다. 이러한 연구의 한 방법으로 실록산-아미드공중합체를 이용하여 투과증발에 적용한 연구는 수행되어 왔다. 이들의 제막방법으로 주로 실록산다이아민/방향족다이아민의 비를 달리하거나 실록산다이아민의 분자량의 변화를 달리하면서 실록산-이미드 블록 또는 그래프트중합체를 제조하는 방법을 사용하였다. 이 실험에서는 주로 실록산-이미드의 비율이 낮아지면 유기용매의 선택성에서 물의 선택성으로 바뀌는 percolation point가 관찰되며 이것은 실록산-이미드의 비율이 낮을수록 물속의 유기용매의 제거에 유리하다는 것을 보여준다. 이에 따라 실록산다이아민과 다이안하이드라이드만을 사용한 실록산이미드막이 추천되나 여기에 대한 투과특성연구는 전혀 이루어지지 않았다.정육점이었고 백화점과 재래닭 사육장에서 직접구입도 하고 있었다. 구입 동기는 가족들이 좋아하고 영양가를 생각한다가 62%였으며 구입정보는 주위사람의 권유로 구입하고 있었다. $\bigcirc$ 구입할 때 중점적으로 살펴보는 사항은 신선도와 순수재래종 여부, 위생상태였다. 한편 소비자가 언제나 구입할 수 없다는 의견이 85.2%나 되어 원활한 공급과 시장조성이 아직 정착되지 않고 있었다. $\bigcirc$ 현재 유통되고 있는 재래종닭은 소비자 대부분이 잡종으로 인식하고 있었으며, 재래종과 일반육계와의 구별은 깃털색, 피부색, 정강이색등 외관상으로 구별하고 있었다. 체중에 대한 반응은 너무 작다는 의견이었고, 식품으로의 인식도는 비교적 고급식품으로 인식하고 있다. $\bigcirc$ 재래종닭고기의 브랜드화에 대한 견해는 젊고 소득이 높은 계층에서 브랜드화의 필요성을 강조하고 있다. $\bigcirc$ 재래종달걀의 소비형태는 대부분의 소비자가 좋아하였으나 아직 먹어보지 못한 응답자가 많았다. 재래종달걀의 맛에 대해서는 고소하고 독특하여 차별성을 느끼고 있었다. $\bigcirc$ 재래종달걀의 구입장소는 계란판매점(축협.농협), 슈퍼, 백화점, 재래닭 사육 농장등 다양하였으며 포장단위는 10개를 가장 선호하였고, 포장재료는 종이, 플라스틱, 짚의 순으로 좋아하였다. $\bigcirc$ 달걀의 가격은 200원정도를 적정하다고 하였으며, 크기는 (평균 52g)는 가장 적당하다고 인식하고 있으며, 난각색은 대부분의 응답자가 갈색을 선호하였다. $\bigcirc$ 재래종달걀의 구입시 애로사항은 믿을수 없고, 구입장소를 몰라서, 값