• Journal of Digital Convergence
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• v.15 no.2
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• pp.319-325
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• 2017

The scenography in terms of directorial viewpoints could suggest the overall vision of scripts rather than providing stage design only. I chose Antonio Buero Vallejo' because he presented the spatial characteristics and images clearly and believe that it could be an exciting challenge to change its original scenography that the playwright suggested. The concept of failed social success and enclosed repeated destiny spaces gave shape to my scenography of stairs. I chose every character in this play had to climb a flight of stairs in order to go outside because a main and sole entrance was located on the top floor. Characters' visual movement which went up in the morning for their dreams, but came down disappointedly due to failure day by day. This concept of scenography became the characters' given circumstances and intended to always affect the characters' acting during the show. Finally, I verified a new scenographic possibility beyond theoretical examination because I applied it to practical production.

• Annual Conference on Human and Language Technology
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• 1989.10a
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• pp.81-84
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• 1989

국어의 구어는 격식적으로도 사용되고 비격식적으로도 쓰인다. 회의, 토론, 강의, 뉴스 방 송 등에서는 주로 격식적 국어가, 그리고 가족 사이나 친구 사이의 대화, 소설 및 희곡의 대화 등에서는 주로 비격식적 구어가 쓰인다. 국어의 문어도 구어와 마찬가지로 격식적으로도 사용되고 비격식적으로도 쓰인다. 학술 논문, 논설문, 보고서, 신문 기사 등에서는 주로 격식적 문어가, 그리고 편지, 일기, 동화 등에서는 주로 비격식적 문어가 쓰인다. 이 논문의 목적은 주로 비 격식적 구어와 격식적 문어를 대상으로 하여 국어의 구어와 문어의 문법적 특성, 돋 의미적, 통사적, 음운적 특성을 밝히는 데에 있다. 그러나 여기에서는 국어의 비격식적 구어와 격식적 문어의 의미적 특성만을 살펴보기로 한다.

• Proceedings of the Korea Electromagnetic Engineering Society Conference
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• 2000.11a
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• pp.264-267
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• 2000

본 논문에서는 이동국의 안테나로부터 방사되는 전파의 일부가 인체에 흡수되므로써 기지국에서 수신되는 E$_{b}$ N$_{t}$의 감소에 대해 조사하였고, 감소된 E$_{b}$ N$_{t}$를 기준으로 하여 전파의 인체 흡수가 DS/CDMA BPSK 시스템의 성능에 미치는 영향을 분석하였다. 분석 결과, 인체에서의 흡수가 30[%]에서 40[%]로 증가할 때 기지국에서의 E$_{b}$ N$_{t}$, 값이 약 0.5 [dB] 정도 감소함을 알 수 있으며, 40 [%]에서 50[%]로 중가할 때에는 약 0.6 [dB] 정도 감소함을 알 수 있었다. 또한 시뮬레이션을 통해 사용자 수가 15 명일 때 약 2.5 [dB]의 E$_{b}$ N$_{t}$ 값에서 음성 서비스가 가능하다는 것을 알 수 있었다. 그리고 이러한 E$_{b}$ N$_{t}$ 값을 만족시키려면, 흡수율이 10 [%] 증가 할 때마다 안테나 방사 전력을 약 20 [mW] 이상 증가시켜야 한다는 것도 알아내었다. 것도 알아내었다.

• Proceedings of the Korea Electromagnetic Engineering Society Conference
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• 2000.11a
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• pp.292-296
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• 2000

본 논문에서는 임펄스 잡음과 다중경로 레일리 페이딩이 함께 존재하는 최악의 채널 환경에서 비동기 DS/CDMA BPSK 시스템의 오율식을 유도하고 수치계산 하여 BER 성능을 분석하였다. 그 결과, 비교적 낮은 신호 대 잡음 전력비 영역에서 시스템의 BER 성능은 임펄스 잡음의 영향으로 크게 열화되지만 페이딩의 영향은 거의 없다. 그러나, 임펄스 잡음의 영향이 작아지는 높은 신호 대 잡음 전력비에서는 페이딩에 의해서 BER 성능이 결정된다. 다중사용자의 간섭도 낮은 신호 대 잡음 전력비 영역에서는 BER 성능에 거의 영향을 미치지 못하지만 높은 신호 대 잡음 전력비 영역에서는 BER 성능을 좌우한다 그러나, 실제 이동통신 시스템에서는 비교적 낮은 신호 전력을 사용하므로, 임펄스 환경에서 페이딩을 경감하기 위한 방법이나, 다중사용자 간섭을 줄이기 위한 기법을 적용하더라도 성능 개선이 거의 되지 않는다.

• (The) Research of the performance art and culture
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• no.39
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• pp.325-355
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• 2019

On June 12, 1791, the old bachelor Kim Hee-jip and the old lady Shin Deok-bin's Daughter get married. The wedding ceremony is a state-led so-called 'virgin virgin bachelor's marriage project'. At that time, the king ordered the recorder to record the case, which is called . The private sector also made it into a work, which is the Chinese drama written by LeeOk(李鈺). was created with the purpose of praising the king, and it inserted entertainment elements into it, so it had a frame of plays, but it did not have a performance in mind from the beginning. LeeOk uses different styles in each of the four acts. He tried to soothe his boredom by setting tales and proverbs in Acts 1 and 2, Pansori in Act 3, and drama in Act 4. In 1918, BaekDooYong(白斗鏞) published DongSangGiChan[東床記纂], which is combines drama and Yadam . In previous studies, these two were perceived as different works, but the two rooms were closely linked: the link was 'someone recognize me[知 己]'. He understood the table of contents made by Lee as 'JaeHyun(才賢)', 'deokhye(德慧)', 'Kwontaek(眷澤)', 'Bokyeon(福 緣)' respectively, and recorded the version of the yadam that fits it in . From acts 1 to 4, Baek contained his desire in it by constructing 'someone recognizes me → I recognize someone → do good things[積善] → blessings[餘慶]'. This is why we can't comprehend and as completely different works.

• (The) Research of the performance art and culture
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• no.35
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• pp.203-227
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• 2017

In this thesis, I examined the characteristics of modernism in this work, focusing on the melodrama "Sarang ye soggo donye wulgo(means 'Crying in Love and Crying for Money')", which was popular in the 30s when the consciousness of modernity was overflowing. There has never been an example of a connection between modernism and drama in the 1930s. The characteristic of modernism is clearly embedded in the representative drama of "Sarang ye soggo donye wulgo(means 'Crying in Love and Crying for Money')" at that time. In the title "Sarang ye soggo donye wulgo(means 'Crying in Love and Crying for Money')". 'Don' reveals modern elements. 'Love' can be seen as revealing melodramatic elements. The flair of modern art, which is a background to reveal modern elements, is spread throughout the works. Hongdo fails to complete the relationship with his family, as well as with the couple. It became a person who accepted the modernistic phenomenon by showing the domination of matter. While the typical method of constructing conflicts in the pre-modern narrative works is horizontal and sequential, it can be said that it was in the form of a train station, while the post-modern era of narrative conflict formation from the 30s forms a plurality of conflicts simultaneously, can do. The fear of the ordinary people who see the reality that urban and western values are already rampant by attempting new contents that lead the change of values in "Sarang ye soggo donye wulgo(means 'Crying in Love and Crying for Money')" became a factor to transfer into internal conflict again.

• Journal of Korea Entertainment Industry Association
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• v.15 no.2
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• pp.83-97
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• 2021

This study started with curiosity about theatre without its three elements and would reveal its possibility through performance and experiment and promote the expansion of each element and the development of a new form at the same time. After the occurrence of COVID-19, theatre has come up against a big limitation of contact-free, untact communication due to its inherent characteristic of 'presence.' For the survival of theatre in the rapidly changing world, it is desperately necessary to check the existing performance method and to be concerned about its development for the future. Thus, this researcher started from a more fundamental exploration of theatre focused on an "experiment of theatre without its three elements" and would sort out the three elements (actors, audience, and a play) from a macroscopic perspective. Also, the researcher would investigate the impacts of these elements on the performance and the possibility of theatre even after removing the elements through performance and experiment. This study consists of one performance and two experiments and is based on the interviews and progress details conducted by the planner and experimenter and the survey with the experiment participants. The significance of this study is its reflection on the essence of the genre, theatre, and the roles of all elements constituting that, not from a narrow perspective that would simply define the concepts of the elements but through the expansion and change of them. Furthermore, hopefully, it will be connected to the discovery of a new theatrical format that has not been considered through its combination with another genre.

• The Journal of the Korea Contents Association
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• v.22 no.9
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• pp.156-168
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• 2022

This study was conducted to investigate the staging principle, the staging work and the trial performance of Shingeuk troupe Geukyesulyeonguhoe during the period of coterie system, focusing on Gogol work·Ham Daehoon translation·Hong Haeseong directing's (5Act). As a result, the first trial performance was based on a faithful full-scale description rather than an interpretive directing of play. It was a performance that focused on copying and implanting the external form of the performance stage of Shingeki troupe Tsukiji Little Theater. The general review of the time was summarized to the point that it was a relatively successful performance that exceeded expectations as a trial demonstration of amateur actors. However, in terms of the content of play and the form of performance, reservations and lack of contemporary(modern) interpretation caused the problem that the general audience was alienated. Therefore, it was difficult to achieve the effect of reflecting the reality of Chosun through , as Geukyesulyeonguhoe intended.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.101-110
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• 2019

The actor's art work is to build and create a role on stage based on the writer's drama. The actor's role creation is possible by analyzing the role of the writer in the drama logically and acting it actively. This is how an actor who practices practical acts goes beyond a stereotypical role-building and performs live acting skills. A case study in the field work for the application of Etude is absolutely necessary at present, where Etude of Stanislavsky is operated in Korean university education and field. This study will be a case in which Etude, which is a scientific and systematic acting methodology of Stanislavsky, is recognized and applied in the field as a methodology for more extended actor training methodology rather than making a judgment about the value of Etude as applied to theater education and the field as an acting training method. The researcher will introduce the methodology of using Etude as an acting method of Stanislavsky through the use of Etude in the creative play , and would like to give an example of an acting creation process model about 'how to apply Etude'. Through these studies and applications, actors can avoid falling into stereotypes and mannerism, and prepare the foundations for a living actor's art, the acting guide for creating a practical role.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.133-143
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• 2019

When writing historical dramas, there was an argument that restoring the language of the times was the responsibility of the playwright, but no full-scale research was done. There was no collaborative study between playwrights and Korean Language scholars. So far, many playwrights have considered it the responsibility of Korean Language scholars to discover and restore language. However, it is a medium that can easily meet the public like a play or movie, and it should have a great responsibility for creation. Language changes with time, so restoring the language of the time in plays and scenarios can lead to difficulties in communicating with modern audiences. However, the change of language according to the times means that it captures the social image and fashion of the time Therefore, language restoration in historical dream means that scenes and backgrounds can be described more realistically. Restore of language is not just necessary to improve the creative environment; it should be understood as the responsibility of the artist to meet the ability of the audience to understand the language of the times already learned. The playwright who writes the historical drama should not only learn the grammar of the background era, but also find out the lost pronunciation and the changed vocabulary so that he can use various dialogues.