• The Journal of the Korea Contents Association
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• v.17 no.4
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• pp.532-540
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• 2017

This study analyzes and compares the meaning and the value of storytelling with characteristics of the Playback Theatre, which is an improvisational play. On one side, the Playback Theatre, invented by Jonathan Fox in 1975, is an improvisational and communication-based theatre format; and it usually brings in the storytelling of audiences and often entails no play script. On the other side, storytelling requires imagination and creativity; presupposes the sympathy between the speaker and the listener. In fact, this theatre format is utilizing the educational and healing effects of verbal cultures, group sacrificial ceremonies, and/or psychodrama; and it is contextualizing them in our modern society. The Playback Theatre provides the audiences with opportunities to share their own stories within the play itself. The actors first listen to the stories of audiences; and then make them into a play impromptu, right in front of the speaker(s) and other audiences. For this very reason, it is called a "play-back". In this process, the individuals and the community are invited to experience the educational and healing effects.

• Journal of Korea Game Society
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• v.16 no.2
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• pp.75-86
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• 2016

Game studies of theatrical approach explained interactive property of game in humanistic background. Those studies analyze the game, and based on Aristoteles Poetic Attribute. But theatrical approach has a problem by user's unpredictable intervention in narrative (Active narrative). This paper intended to see in the glance of any impact on the Aristotelian model by active narrative. As a result of the active narrative remake the causality between materials of drama. Also, it can be seen to define a kind of the "Improvisation" in theatrical view. But it exposed a essential difference in the form an expression by substance and material of media. It was defined forms of improvisation in the gaming environment which are 'Self-generated Individuality', 'Self-definition Faction', 'Eccentric Behavior Contending', 'Trolling' and 'Bug Play'. Finally this paper proposes the characteristics of the improvisation of the game and the direction to be improved game analysis model in humanities through forms of improvisation in game environment.

• The Journal of the Korea Contents Association
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• v.9 no.11
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• pp.184-191
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• 2009

Ideas regarding acting among new theater groups In the 1960s can be summarized in two major trends. The first trend was characterized with the pursuit of identity in a play. The second trend was characterized with the pursuit of creating a play that strongly and passionately explores internal human reality. In their pursuit of the goal of the second trend, they shockingly and strongly destroyed anything by rising in revolt against the existing spatial language. They believed that acting beyond acting as pursued by Stanislavski is not to implant a new type of human, but to develop the self hidden within the actor or to remove the actor's mask. Based on such recognition, the first thing that actors have to do is to remove or break free from the shell or skin that surrounds them. Accordingly, they sought a method that helped them act while taking off their shell or mask during acting and finally got the answer from "improvisation." One thing with improvisation is its way of stimulating the unconscious world of the actors in order to allow them to strongly express the hidden instinctive emotion from deep within them.

• 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.

• The Journal of the Korea Contents Association
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• v.19 no.11
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• pp.507-515
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• 2019

The positive effects of 'robot actor' born in the age of artificial intelligence on the characteristics of theater (comprehensive, liveness, duality, planning) is due to the collaboration with 'robot' engineers, which increases the comprehensive. It is possible to respond to it, so that various reaction are maintained in every performance, and enhanced illusion can be provided in 'robot' material works in which 'robot actor' plays the role of 'robot'. However, the power focused on the director can reduce the comprehensiceness, the synthesis is reduced, and the 'robot actor' cannot perform the sweat or breath of 'human actor'. In itself, duality is incomplete. In addition, there is a high risk that the improvisation within the scope of planning is likely to occur as a sudden reaction, which may limit the postponement of the 'human actor'. Based on these findings, 'philosophy', 'science' and 'art' can predict the development of artificial intelligence side by side. It is considered necessary to study to redefine the direction and identity of arts and theater that should be moved forward.

• (The) Research of the performance art and culture
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• no.41
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• pp.69-92
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• 2020

This study describes the impact of early childhood teacher's artistic competence on art education pedagogy and improved curriculum design. Furthermore, the effect of drama as a way of improving early childhood teacher's artistic competence is explained. Many researchers have mentioned that early childhood is a period of sensitivity and potential. Therefore, it will be helpful if children meet a teacher who understands them and inspires their innate artistic sense at a level of their eyes. It explained which aspect of artistic competence should be focused for the teacher training education. There are many approaches to develop early childhood teachers' artistic competence. Adopting drama is one of them. The strong points of drama to improve their artistic competence are as follows. Firstly, human's movement and voice are the main artistic channel in drama. What we are doing in daily life is found are drama world. It means if early childhood teachers experience drama activity, they will feel more comfortable and intimate with it. In addition, early childhood teachers tend to be familiar with dramatic play, so they can more easily access to drama world. Secondly, drama will be helpful to understand different feelings and to broaden and deepen understandings of others' standpoints. For early childhood teachers, drama activity will be helpful to understand how dramatic art form works and to lead children's play in diversified and sincere way. In addition, drama activity will be useful to build horizontal and democratic relationships between children and the teacher. It is one of the main emphases of 2019 revised Nori national curriculum. To sum up, drama will be a excellent method to develop artistic competence for early childhood teachers. Thus, it is expected that They have more opportunities to experience drama as an art form.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.77-90
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• 2020

Today, the transition to the era of "post-drama" brought a change in the position of text, which was considered the center of the play, and the expansion of the role of actors. After entering the post-drama era, the actor no longer transforms himself into "delivering" the fixed meaning of text, but "producing" the valid meaning of "now, here" meeting the audience. In other words, actors in the post-drama era have expanded their roles as "performers" who can become the subject of narratives themselves and create various theatrical languages. Despite the expansion of the actor's role, verbal-centered actor training through text, which still forms the basis of acting education, does not satisfy the newly changing contemporary theatricality and creates a gap between education and the field. Therefore, the researcher argued that non-verbal-centered acting education needs to be discussed, and highlighted the actors' physical training on the "empty" side. The researchers first compare and analyze the characteristics of modern theater people's training methods from an "empty" perspective. Based on this, researchers about the meaning and direction of the training "empty". Furthermore, the study concludes with an emphasis on the direction of acting education in the post-drama era, which is free from language that can respond to stimuli and interact freely.

• (The) Research of the performance art and culture
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• no.18
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• pp.103-136
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• 2009

This study analyzed the aspect of action and mean in Japsaeknorum. Secondly, this study contrasted Japsaeknorum with Mime. Thirdly, the characteristics of gestures in Japsaeknorum were analyzed. The results, obtained by those steps are subordination, hostility, cultural control, the comic characteristics by situation, functional role, the sublation of competition and conflict, the variation of subordination and deviation, the end of subordination and deviation. The korean mime is a heritage of Western culture. But in the history of korean mime, it make every effort to seek the korean form of mime. Therefore, this study is very helpful to seek such a way.