• Journal of architectural history
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• v.15 no.1 s.45
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• pp.61-76
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• 2006

The stage is ceremonial and legendary space unlike the ordinary world. Performance is not simply scrip-staged, but spatial art based on tempo that transmits extreme condition. The stage art is a visual art combined with stage settings, lighting, customs and the like. I exemplify the stage of Middle Age and Renaissance in the history of the art of public performance and so I review that what meditative functions each stage perform and that as what pattern of media it can be conceptualized. In this thesis, I divide the places of public performance Into the spaces of proscenium and polygon and also set up the concepts of hot and cool that McLuhan presents for each space. So, the degree of participation could be different according to the distinction of quantity of information, which is communication following the patterns of spaces. The basis of public performance might be the communication between co-actors and audiences. Since the sense of the art of public performance is the art in the process of establishing the meaning based on the communication with co-actors, it is not a confirmed and fixed one, but rather a reflexive one that can be created and changed continuously. Therefore, audiences should be regarded as the subjects, who are making the art of public performance with co-actors.

• Korean Institute of Interior Design Journal
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• no.41
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• pp.163-171
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• 2003

The scope of the study involves comparison of theaters in the west and those in the east, which experienced almost no exchange between them in the past, due to diverse restrains including a geographical one. The focus was put on the two types of these theaters whose similarities are meager historically and technologically, and whose link was not verified yet. However, similarities ,if any, will be identified among characteristics of these theaters so that the links such as liberalism, nomadic and participatory nature, non-linear space, ambivalence, mobile space-which are modern characteristics- could be connected from the past to the present, and those modern characteristics can be studied as a process where they could be sensed from the past structure or from each different target.

• Journal of Digital Convergence
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• v.17 no.2
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• pp.363-371
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• 2019

The purpose of this study was to look at the grotesque characteristics of the preface to "Cromwell, 1827" by Victor Hugo and to identify the differences in the ancient Gris Tragedy. Also, Victor Hugo and Nietzsche were interested in the Middle Ages, and wanted to see if there were any differences. The main findings of the study are the grotesque phenomenon of Victor Hugo in the "Satirus" at Dionyson Theater in Nietzsche's Gris tragedy. When you classify them, first, the appearance of humans and animals mixed in. Second, Satyrus uses the mask as a grotesque material in a humorous and funny atmosphere. Although there were many ways to define grotesque aesthetics and philosophy, there was still a lack of research on grotesque. Future studies should be conducted in detail in social phenomena over time.