• Journal of the Korean Society of Costume
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• v.60 no.1
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• pp.135-144
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• 2010

This study is on the reproduction of King Sejong's costume presented in at the National Classical Music Institute in the late of 2008. The performance was presented focusing on the idea of ceremonial music of hoi-ryeyeon produced in the reign of king(1433). The reproduction of King Sejong's costume was undertaken to keep pace with the times and to pay due regard to the performance costume. The implications of the study are as follows. King Sejong's Hoi-ryeyeon ceremonial costume is a royal robe(gonryongpo), the best one of king's clothing. The basic type of gonryongpo is that of fastening four yongbos to danryoung. The type of gonryongpo is, therefore, made with reference to unearthed articles and portrait of the first king of the Yi dynasty. The yongbo is larger one than the late period of the Yi dynasty in the light of portrait of the first king of the Yi dynasty. The supporting type of gonryongpo is that of gonryongpo, dapho, and chulrik, king's dress granted by Myeong dynasty. In the late period jikryeong was used as supporting dress and fixed to be lining and included jikryeong. Therefore the order of supporting dress was jikryeong, dapho and chulrik and was reproduced with reference to unearthed articles in the early Yi dynasty, as did the small piece of crown, belt and shoes.

• Journal of the Korean Society of Costume
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• v.59 no.4
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• pp.98-110
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• 2009

Performance art is an integrated genre of different art areas, and make-up is a visual art area to give lively effects to the performance art, which makes actors and actresses changed into the characters of plays. It can be said to be a kind of deliverer of idea to help effectively understand the contents of the performance. When we are in the world abundant in various cultures and innumerable styles of expression of different countries, we should rediscover the value of the beauty of our traditional masks that have represented the emotion and thought of Han nation, which we can find in play culture of our ancestors that has kept our ancestors' value system. That's the way we can get continuous life force and competitive power of our traditional culture. The Korean traditional masks haven't only been for the prevention of bad luck and the prayer of fortune, but also well expressed Korean people's looks, features and personalities according to the roles. They are excellent artistic works in themselves, and many studies have been performed on the analyses and uses of the features of the masks in various fields due to their good expression of different cultural aspects, while the studies in the light of make-up are rarely performed. Therefore, this article aims to analyze the features of the Korean traditional masks and, by using this analysis, to present effective make-up designs in outdoor performances through a stage performance. In addition, this article also tries to present the orientation of make-up as an expression of artistic image, and to expand the expression area of make-up by using the Korean traditional masks in the light of make-up. For this purpose, I examined the related literature and the precedent study materials to find the origin and kinds of the Korean traditional masks, and analyzed the features of the masks. Furthermore, I established the make-up design plan using the material features of the Korean traditional masks by analyzing the characters in actual performance works, and presented the photos of works actually performed.

• (The) Research of the performance art and culture
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• no.39
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• pp.863-901
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• 2019

This paper deals with the process of developing a traditional culture content based on the historical spread of Jajimu, an ethnic dance of ancient Tashkent(Chach), to Tang China and then to Goryeo in Korean peninsula. Jajimu as a solo dance form was a very enegetic dance form that reflects the dynamic nature of namadic life, and it enjoyed high popularity in Tang China due to its exotic style after the 8th century A.D. Later, it gave a birth to a derivative duet dance form called Ssangjaji or Guljaji, an highly sophisticated elegant court dance item that reflects the aesthetic taste of Tang China. Further, the Ssangjaji was flowed into Georyeo around in the 11th century or earlier, and was transformed into a Korean court dance while renaming it as Yeonhwadae that means 'lotus pedestal'. I tried the production of a special performance which displys those three dance forms on same stage to demonstrate the historical connection of ancient Asian dance. It was not easy to restore the music, dance and costume of Jajimu and Ssangjaji because of limited historical materials whereas those of Korean Yeonhwadae have been well preserved and transmitted owing to old dance and music notation system. A large amount of audio, visual materials were collected and analysed to overcome those limits, and its result was utilized efficiently for the production. The final performance was the culmination of long preparation process for 11 months in 2015. In spite of some limits, this project has a historical meaning in the point that it was the first trial of same kind in the world.

• 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.

• Journal of the Korean Society of Costume
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• v.58 no.10
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• pp.1-20
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• 2008

The purpose of this study is to analyze the formative characteristic of modern Tap dance costume according to its origin and kinds. For this purpose, the study explored the review of literature focusing on the historical back ground of Tap dance and investigated into the kinds of modern tap dance and the formative feature of the tap dance costume. Costumes of leading tap dancers in representative performances and movies are analyzed. The results are summarized as follows: The kinds of current tap dance could be categorized as three types of Jazz Tap Dance, Rhythm & Funk Tap Dance, Irish tap Dance as their development origin. The Tap dance widely distributed through the U.S. Hollywood movie, The Jazz Tap Dance costume was composed of magnificent and luxurious design applying the high fashion of the 1930s and 1950s in the male and female costumes. The U.S. Blacks' tap dance, Rhythm & Funk Tap costume had a close relation with resistant blacks' culture, and showing the type of free dressing not bound by previous tap dance dress. The Irish Tap Dance originated from Irish folk dance displayed the tap dance embroidered costume using the Irish traditional pattern. This study systemized the characteristic of the tap dance costume by kind, and explored the dress revealed at the tap dance as a symbolic system to the cultural zone where the dance is made.

• Journal of the Korean Society of Costume
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• v.60 no.9
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• pp.26-40
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• 2010

The purpose of this study is the Tibetan folk costumes'characteristics and change of design in stage. The subjects are the Tibetan costumes in the Spring Festival Gala of CCTV. The basic characteristics of Tibetan folk costumes are fat waist, long sleeves, overlap, and right ren. Tibetan costumes consist of Tibetan gowns, aprons, shirts, belts, Tibetan hats, headgear, ornaments, all of these compose the traditional image of the Tibetan people. Because of the long-term closed survival, the development of Tibetan costumes has no much vertical differences and changes. The costumes of Weizang(衛藏), Ali(阿里), Gongbu(工布), Kham(康巴), Amdo(安多) have different features which are divided according to different dialects. Study the changes of design Tibetan stage costumes from 25times, we can get that during the 1986~1992, people emphasis on the activities of dancers, styles are simple, just to grasp the characteristics of the Tibetan costumes. In the 1993~1999, the dancers put on the real-life Tibetan clothing on stages. By the 2000s to now, Tibetan stage costumes have much more changes in forms and colors which are more complete and complex. The types of Tibetan costumes include Tibetan all clothing, they all express the changed forms and colors without exception. So in this period are artistic Tibetan folk costumes.

• Journal of the Korean Society of Costume
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• v.59 no.3
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• pp.157-165
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• 2009

This study intends to discuss the efficient stage costume design that uses costume-rentals and production method as a realistic alternative for production of stage costume of low budget performance. Directly participating in the costume design and production of the performance , this researcher applied the methodology of corroborative study on the basis of production process and results by referring to the papers and literature published by academic society for the theory necessary for study. Centering around the western costume in the stage costumes of , the scope of study was the costume of Paris, France prevalent at the end of the 19th century which is epochal background of performance. In spite of its merit of reducing production charge and production in the low budget performance, costume-rentals is subject to the lack of considering unitγ with other visual factors and limit in reflecting the creativity of costume designer. The following actions shall be taken to solve such problem. First, it is essential to set production direction and plan that meets budget and work concept. Second, it is required to highlight the characteristic factor of the age which is the background of work so as to grant the sense of age and to produce the visual unity of costume by supplementing the costume composition. Third, it is necessary to make large effect with low lost by using costume articles that can express the characteristics of the age. Fourth, it is required to efficiently reflect the transformation of design by minimizing the damage of costume through research on the sewing method and materials as well as creative idea. In this way, the efficient stage costume could be realized in the performance with low budget by approaching costume-rentals in the viewpoint of costume design, transforming it in accordance with work concept and adding the visual factors.

• Journal of the Korean Society of Costume
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• v.55 no.7 s.98
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• pp.1-21
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• 2005

The purpose of this research was to re-illuminated the artistic value of costumes that had shared identical history with human beings through the formation and the progress of the newly introduced Russian avant-garde an. This resulted from the fact that the Russian avant-garde art changed the human esthetic sense through the style of art that Larionov and Goncharova introduced in the 20th century. The research method defined the formation and the progress of the development of the Rayonism centering the works of art by Larionov and Goncharova. Based on this method, larionov and Goncharova designed the set and the costumes for the Ballets Russes of Serge Diaghilev and studied the molding characteristics of the costumes worn in the performing an. The result were as follows. First of all, Larionov's costumes of art were all manufactured based on the theme of nature and genesis. In other words, Larionov represented the sun as a humanistic god through the white night, the natural weather condition of northern Russia. His costumes also displayed the symbolic meaning of the personification of animals like birds and cats, which emphasized the importance of both nature and tradition. However, he used Rayonism expression when he designed costumes by applying the nature themes. On the other hand, Goncharova applied the Spanish passion, the Russian folk art lubok, and goldern cockerel or religious icon-paintings in her costumes. she pursued straight lines and abstract shapes in her costume design. her design displayed the Rayonism influence through the separation between the lines and the surfaces, whic defined the costumes as a decorative art experiment. Therefore, the study of Larionov and Goncharova had one realize that Rayonism was not only an art form of Avant-garde, but it also became the basis of the molding character of all the artworks. Larionov and Goncharova reflected the miracle of the transformation of the 20th century in their costume designs.

• Journal of the Korean Society of Costume
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• v.62 no.4
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• pp.1-14
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• 2012

Ever since the year 2000, Korea's musical markets has invited famous overseas license performances and have therefore cooperated with staffs working overseas in regards to stage costumes. This study aims to suggest the methodology of the stage costume making process according to the present advanced production system of Korea's musical market. The researcher participated in the stage costume making work of 'Chicago' as a costume supervisor. It took place at the Opera House of Seongnam Art Center from January 10, 2010 to February 28, 2010. Furthermore, there was significance in reinforcing academic values and implementing practical making process of stage-costumes based on the actual field work. The method of this research was carried out through a theoretical research and a case study that focused on empirical research. As for the research scope, it was limited to the actual stage-costumes that the researcher fully engaged with as a costume supervisor of the musical 'Chicago.' The results of this study were as follows. The stage costume making process of the musical 'Chicago' was categorized according to the classification of production system in the performance. For pre-production, it was divided according to the information of the actor and the analysis of the bible. Rehearsal period was divided according to the product clothes and fitting. Production week & preview were divided according to the changeover of clothes and the arrangement of dressers. The Run was divided according to the inspection of the situation concerning clothes in general during the performance. Post-Production Period was divided according to the collection of clothes and the implemented database. This study eventually suggested appropriate stage-costume making processes for the costumes making environment according to the expansion of overseas license musical market. However, it has a limitation of the research scope to the musical 'Chicago.' The creative performances of the domestic version are planned in diverse forms and come to abroad animate by the Korean Wave. Therefore, the field of stage-costume is necessary for the establishment of practical schemes of the system and copyright in accordance with the environment.

• Journal of the Korean Society of Costume
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• v.62 no.5
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• pp.125-137
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• 2012

This study examines the stage costumes of the creative musical 'Hyecho', which was performed six times in the Chung Ang Art Center hosted by Chung-Ang University's performance & media agency from December 20 to 22 in 2006. The stage costumes were made based on these basic design elements of stage costumes that were dyed : line, silhouette, material, and color. First, the creative musical 'Hyecho' presents a new form of fusion theatre, which blends Korean traditional music and dance with videos. Thereby, the musical has opened a new phase in Korea's creative performing arts. Second, in musical performances that combines dance and songs, stage costumes should be made not only to attract the audience's eyes, but also not to interrupt actors' vocalizations and movements by taking their physical features into account. Also, costumes should be made in consideration of their relationships with visual elements, including stage settings and lighting. Third, the musical features fusion-style stage costumes, which combines Hanbok, the Korean traditional costume, and Indian traditional costumes with modern costumes. For the line and silhouette, costumes show the beauty of curves through the curves of Hanbok and India's traditional costumes and also through irregular pleats of pants. Also, by using cotton materials, which is easy to dye and not readily deformed, costumes feature colors that are found in nature through a gradation dyeing technique. In doing so, it offers visual amusement to the audience by making stage costumes look like a beautiful painting. Fourth, the stage costumes of the chorus feature costumes that use lining and pleated skirts using belts, and various accessories, including necklaces that use strings in order to express evil spirits. Since there is not much time to change costumes during a performance, using such items are helpful to show the unique characteristics of actors effectively during the limited time. Also, coordinating with the lighting director allows the costume designer to make better costumes for the chorus and make the performance more dramatic. Finally, it was not necessary to wash the costumes of the chorus of the fusion musical Hyecho 2006 since it was performed only six times. However, when using dyed costumes for the long-term performance, it might cause problems such as bleaching that result from the washing of costumes and low durability that can result in the deformation of costumes. As performing arts are made in various forms and are diversified, it is needed for stage costumes to change accordingly through new attempts and various ways of expression.