• (The) Research of the performance art and culture
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• no.33
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• pp.97-128
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• 2016

According to the findings of the study, the music composition of the mask play is deeply related to the main characteristics of the scene. The first scene of the play starts with the Byeoksa dance. This particular dance part represents the evil spirit expel ritual. The instrumental accompaniment like and are played for the dance. The last part of the play starts with the Halmi and Yeonggam scene. This scene is played in both the instrumental and vocal music. For the instrumental part , for the vocal part and songs are played. and songs are played on the part of the Halmi's funeral ceremony scene. The instrumental and are played in various scenes for the accompaniment of the dance part. The musical structure of the mask play is flexible. This kind of flexibility of scene structure mainly concerned with the way of musical composition. The main structure of the mask play can be classified into two main styles according to the allocation of the vocal music. In first style, the vocal music is evenly dispersed. In second style, the vocal parts are concentrated in the rear section. As I mentioned earlier, no logical association is found in the matter of the scene arrangement. A scene arrangement has a deep connection with the arrangement of the music in each scene. In conclusion, the mixed arrangement of the scene in mask play is mainly concerned with the matter of the music arrangement in order to maintain the tension of the drama.

• Proceedings of the Korea Contents Association Conference
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• 2017.05a
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• pp.57-58
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• 2017

중국 경극에서 얼굴에 다양한 분장을 하는 것을 검보라 하며, 극 중에서는 다양한 상징성을 갖는다. 검보는 민족적 특색을 내재하며, 극중 캐릭터를 위한 "영혼의 화면"이라 불린다. 반면, 일본 노극은 가면을 쓰고 연기하는 독특한 고전 가무극으로 히타멘(直面, 가면을 쓰지 않음)과 가면을 쓰는 공연으로 나뉘며, '유현(幽玄)의 예술" 이라고 불린다. 이러한 경극의 검보와 노극의 가면은 애니메이션에 캐릭터에 차용되며, 극의 서사와 상징성을 드러내는 매개 역할을 하고 있다. 이에, 본 연구에서는 경극의 검보와 노극의 가면이 연출된 애니메이션 영화를 중심으로 사례 비교연구를 진행하고자 한다.

• Journal of the Korean Society of Costume
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• v.64 no.8
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• pp.124-137
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• 2014

The purpose of this study is to produce an essential guideline for making costumes for traditional Korean mask plays by doing a comparative analysis between traditional Korean mask plays and Italian 'Commedia dell'arte'. The results of this study are as follow. The costumes of Korea's mask plays were mainly used to show difference in social status. Analysis showed that costume features, such as color, fabric, and silhouette, were not important to the traits of the character. On the other hand, the costumes in the Italian 'Commedia dell'arte' were used to express the characters' traits. The colors, fabric and silhouettes were exaggerated compared to everyday wear. This enhanced the looks of the character, and it kept on developing with the demands of the culture consumer. This study was performed to support further development and success of traditional Korean mask plays.

• Korean Journal of Heritage: History & Science
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• v.2
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• pp.130-157
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• 1966

• The Journal of the Korea Contents Association
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• v.10 no.4
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• pp.175-185
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• 2010

This article aims to compare the implications of masked dance in Hahoe with Gangneung masquerade and analyze them, in terms of the transition of the rituals. The results are as followings; Byulsin exorcism of Hahoe was the worship for God who people believe protects us from the evil. However, from the making of the mask in Hahoe masquerade. The movement of the dance features the spontaneous, changeable, depending on atmosphere of the stage or the host of the performance. Hahoe masquerade has the religious suggestion in the organization; it is one of the festivals, wishing for peace, good harvest of the village, in the content of the performance. From the roles of casts, the implications of the rituals are inferred; such the characters as Yangbankwangdae, Somaekaksi, Sisittakttaki, and Jangjamari have the implication of the repelling. But, the movement of the masked dance lost the original fashion in the process of restoration and faced the change. Therefore, most of the movements are tuned to falk of Gangneung; it doesn't have essence of the rituals. Finally, Gangneung masquerade has a factor of amusement of the Dano festival, wishes for well-being, good harvest of the village and includes the ritual of a guardian deity of the town, like the tutelary masquerade.

• (The) Research of the performance art and culture
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• no.22
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• pp.5-43
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• 2011

Before the Korean War, Korean mask dramas had been performed as parts of seasonal customs and had been passed down in connection with various seasonal events, such as village rites, tug of war, torch fighting, Jisinbabgi(stepping on evil spirits), Gilnori, and Sattonoreum. However, after the Korean War, the dramas were played independently regardless of those seasonal events; thus, they have lost their original functions and meanings. After the Korean War, the lion dance in the Bukcheong lion mask play included two lions (as opposed to one lion prior to the Korean War) and the Aeonesung and Sadang dances were added. The scene in which a lion eats a child changed to a lion eating a rabbit doll. Furthermore, whereas mask types used to be diverse, they are now standardized to one type of lion mask. In the Yangju Byulsandae-nori, eight monks and Waejangnye, Aesadang appeared in 'Aesadang Bubgonori', but now the Malddugi mask character is added. Current performances omit sexually suggestive scenes. In the pre-Korean War version of the old man and old woman act, the old man sang a song to the soul of the dead woman, but now a shaman appears and performs an exorcism. In the dialogues, vulgar and sexual statements have been shortened as many audience members are women and children. Regarding the appearance of the masks, the lotus leaf, the monk with Scabies, and sannim masks have been significantly changed. Bongsantalchum has also changed, especially in the old monk act. Previously, two Somu used to appear whereas now only one appears. The scene of the shoe seller's and the monkey's departure is also different. Furthermore, while the former masks once had big eye holes on each side of the nose, now the masks have smaller holes on the eyes.

• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.475-477
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• 2010

경극은 중국의 전통극 중 하나이다. 경극의 영어 명칭은 'peking Opera'다. 경극의 "분장"은 희극에서 배우들이 얼굴에 하는 채색 화장을 가리킨다. 경극 배우들의 얼굴 분장을 '검보'라고 한다. 형태, 색채와 유형 면에서 특별한 양식을 갖춘다. 본 논문은 중국에 전하는 가면극의 외면적 표현 형태를 시각디자인 조형영역 분석을 통해 학문적 가치를 창출하는데 목적이 있다. 본 논문의 연구 영역은 경극의 유래, 색채, 형식적 측면에 대한 조형분석과 가면의 표현형식, 즉 표형기법, 색상구성, 형태구성, 역할특성 등의 구성형식을 조형적 분석 틀에 의해 분석하고자 한다. 가면 얼굴의 대표문양 분석을 통해 단순화 표현형식으로 작품을 만들어 연구하고자 한다. 분 논문의 의의는 중국 전통경극의 집중적 연구의 결과 추출을 통해 한국의 유사 전통탈춤과 비교하는 연구의 귀중한 자료로 예측되기에 본 연구를 진행하였다.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.67-77
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• 2019

There are many eyes that recognize Korean traditional performing arts as low, unorganized, and not a play. However, there is clear in the Korean traditional performing arts have a story with a perfect narrative structure. From the Miyal which accepts the Western tragedy theory to the Gangneung Gwanno Mast drama which contains the love story of the comedy, many Korean traditional performances contain the elements of narrative even though the contents are very simple. It is true that there are very few things with perfect narrative structure among the Korean traditional performance that has been passed down so far. It is the responsibility of the researchers to unearth and restore these, and it is the task of the creative artists to create new ones according to contemporary philosophy. If these two fields communicate smoothly, we will be able to look at the future of our traditional performing arts more brightly than now. As a result, it will also be a challenge to solve the problem of letting Korean traditional plays penetrate ing the world market.

• Journal of the Korean Society of Costume
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• v.60 no.4
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• pp.146-161
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• 2010

The purpose of this study was to analyze the characteristics and images of costume colors in Korean Masque Drama. For this study, 242 color samples were selected by extracting digital color data by using the Eyedropper Tool of Photoshop 7.0. The RGB color data were transformed to HV/C and the attributes of color and tone were analyzed. Color images were analyzed with the IRI color image scale. As a result, neutral, red, purple blue, and yellow were found to be the most frequently used colors in the Korean Masque costumes. In the ton analysis, white tone showed high frequency and next orders were dp, s, v, b, sf. In the hue & tone, the most frequent color was white, followed by R(v), PB(dp), R(dp), YR(s), GY(s) and mGY. Color images were focused on dynamic, gorgeous, and natural images.

• Fashion & Textile Research Journal
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• v.17 no.4
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• pp.541-549
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• 2015

Korean traditional mask play was done at outdoor to let spectators join the play and take mask at performance and to have disadvantage of poor transfer of dialog to the spectators. Performers transferred dialog directly and/or indirectly by using visual costume, and Tongyeong Ogwangdae with many dialogue expressions concerning the costume made use of proper intention to help spectators understand. In this study, the author watched performance of Tongyeong Ogwangdae to collect and investigate not only image material but also photograph material and to classify intention of the costume into three: First, contents of the dialog were intended to make shape. The costumes of Hongbaek Yangban, Meoktal Yangban and Jorijung of the 2nd section gave spectators contents of the play, and the costume of Halmi Yangban of Nochangtal of the 4th section described dialog of Halmi. Second, dialog had connotative metaphor. The costume of Yeongno of Yeongnotal of the 3rd section symbolized an unfinished dragon, while that of Halmi of Nongchangtal of the 4th section did sacred of Halmi. And, Nongchagtal Ai's costume of the 4th section prayed for value of Ai, richness of the life and fecundity. Third, conflict between characters was intended by indirect media. The costume of Maltukee of metaphor mask of the 2nd section became base of the assertion supporting that Maltukee had better birth history than Yangban had, and the costume of Yeongnoyangban of Yeongnotal of the 3rd section produced conflict at disclosure of identity.