• (The) Research of the performance art and culture
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• no.23
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• pp.5-36
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• 2011

The purposes of this treatise are to compare theories of theatre in 'Kwandaega' with theories of theatre in 'Poongjahwajun', to recognize differences of theories between the former and the latter, and to find out the comparative characteristics of theories of Korean theatre. There are four differences between the former and the latter. These are as follows; Firstly, in the aspect of contents, the former is consisted of discussions about nature of theatre, discussions about acting, discussions about staging, and the latter is consisted of discussions about nature of theatre, discussions about acting, discussions about staging, discussions about origin, and discussions about dramaturgy. Secondly, in the aspect of nature, the nature of theatre in the former is recognition and practice as 'homo performans', the nature of theatre in the latter is realization of 'flower[花]'. Thirdly, in the aspect of acting, discussions about acting of the former are consisted of 'Sachae' theory'(Inmulchirae, Sasulchirae, Dekm, Nerumsae), discussions about acting of the latter are consisted of method of training per ages, method of training per role playings, trainings in everyday life. Fourthly, in the aspect of staging, the focus of staging in the former is realization of an endless series of changes[千變萬化], the focus of staging in the latter is realization of 'flower[花]'. There are four characteritics in the theories of Kwangdaega. These are as follows; Firstly, the contents of kwangdaega are consisted of discussions about nature of theatre, discussions about acting, discussions about staging. This theory is theory centered on actor/actress. Secondly, the nature of thestre in Kwangdaega is recognition and practice as 'homo performans', supporting of self-generational values, supporting of folk, new interpretation about secularism. Thirdly, the discussions about acting are consist of 'Sachae Theory'. Fourthly, the discussions about staging are consisted of realizations of an endless series of changes[千變萬化]

• Journal of Ocean Engineering and Technology
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• v.8 no.2
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• pp.124-130
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• 1994

This paper compared with the hydrodynamic interference acting on the semi-submersible element model with 1-lowerhull and 2-columns. In this case, calculation are applying the strip method and 3-dimensional source distribution method. As the wave frequency and the distance between increase, the influence effects of parts upon each other decrease and approach the results calculated by using the strip method. Thus, it can be prepared for the investigation of new practical method of investigation of new practical method of hydrodynamic forces acting on huge structures.

• 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.17 no.12
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• pp.408-416
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• 2017

This researcher looked at the characteristics of "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques focused on body expressions and sought to utilize it as training method for modern actors. 'Body postponement as a symbol' is a key characteristic of "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques, and each facial expression, gesture, and movement performed by an actor has a specific meaning. Therefore, the study on "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" has been treated as a major study mainly in the non-realistic expression style or the body-centered acting theory. Therefore, a study on "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques was mainly dealt with as a major research subject in the nonrealistic expression style or body-centered acting theory. This study, on the other hand, emphasized the importance of research on the utilization plan of actor training, which can be usually used in realistic plays as well as non-realistic plays. According to psychologists such as Damasio and Eckman, internal impulses can also be triggered through expressions and actions associated with emotions. In addition, not only acting through the actor's inner impulse, but also expression of the actor's faithful external emotion can trigger the emotion of the audience. Such a case can be a psychological basis that "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques, which defines rasa and expresses it physically, can be used as a methodology to enhance inner truth. Therefore, the study on the actor training utilizing ing "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" can be applied as an effective approach in the study of contemporary acting theory which intends to integrate inner impulse and external expression.

• Journal of Ocean Engineering and Technology
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• v.16 no.3
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• pp.8-18
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• 2002

Formulation of the far-field method for the prediction of time-mean hydrodynamic force and moment acting on a 3-D surface-piercing body in waves is reviewed. It is found that the inequality between the weight of the floating body and its buoyancy force permits the replacement of the fluid particles inside the control surface by the fluid particles outside the control surface. Under such circumstances, momentum exchanges across the control surface make the time-mean value of the time rate of the momentum of the fluid inside the control surface non-vanishing. It is a second-order quantity which is hard to calculate by the far-field method. The drift forces and moments on half-immersed ellipsoids are calculated by both the far-field method and the near-field method. The discrepancy between two numerical results is presented and discussed.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.313-323
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• 2019

For the actors on video, facial expression acting can easily become 'forced facial expression' or 'over-acting'. Also, if self-restraint is emphasized too much, then it becomes 'flat acting' with insufficient emotions. By bringing forth questions in regard to such facial expression acting methods, this study analyzed the facial expression acting of the actors in genre dramas with strong commercial aspects. In conclusion, the facial expression acting methods of the actors in genre dramas were being conducted in a typical way. This means that in visual conventions of video acting, the aesthetic standard has become the important standard in the facial expression acting of the actors. In genre dramas, the emotions of the characters are often revealed in close-up shots. Within the close-up shot, the most important expressive medium in a 'zoomed-in face' is the 'pupil of the eye', and emotions are mostly expressed through the movements of the eye and muscles around it. The second most important expressive medium is the 'mouth'. The differences in the degree of opening and closing the mouth convey diverse emotions along with the expression of the 'eye'. In addition, tensions in the facial muscles greatly hinder the expression of emotions, and the movement of facial muscles must be minimized to prevent excessive wrinkles from forming on the surface of the face. Facial expressions are not completed just with the movement of the muscles. Ultimately, the movement of the muscle is the result of emotions. Facial expression acting takes place after having emotional feelings. For this, the actor needs to go through the process of 'personalization' of a character, such as 'emotional memory', 'concentration' and 'relaxation' which are psychological acting techniques of Stanislavsky. Also, the characteristics of close-up shots that visually reveal the 'inner world' should be recognized. In addition, it was discovered that the facial expression acting is the reaction acting that provides the important point in the unfolding of narratives, and that the method of facial expression and the size of the shots required for the actors are different depending on the roles of main and supporting characters.

• Korean Journal of Applied Biomechanics
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• v.15 no.1
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• pp.75-89
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• 2005

D. K. LEE, J. S. LEE, B. J. LEE, H. S. LEE, Y. J. KIM, S. B. PARK, J. P. JOO. Plantar foot pressure analysis during golf swing motion using plantar foot pressure measurement system. Korean Journal of Sport Biomechanics, Vol. 15, No. 1, pp. 75-89, 2005. In this study, weight carrying pattern analysis and comparison method of four foot region were suggested. We used three types of club(driver, iron7, pitching wedge). This analysis method can compare between top class golfer and beginner. And the comparison data can be used to correct the swing pose of trainee. If motion analysis system, which can measure the swing speed and instantaneous acceleration at the point of hitting a ball, is combined with this plantar foot force analysis method, new design development of golf shoes to increase comfort and ball flight distance will be available. 1. Address acting, forces concentrated in rare foot regions and lateral foot of right foot. Back swing top acting, relatively high force occurred in medial forefoot region of left foot and forefoot region of right foot. Impact acting, high force value observed in the lateral rarefoot region of left foot and medial forefoot region of right foot. Finish acting, force concentration observed on the lateral region and rarefoot region of left foot. 2. Forces were increased in address of right foot with clubs length increased. All clubs, back swing top acting, high force value observed in the lateral forefoot region of right foot. All clubs, in impact, high force value observed in the lateral rarefoot region of left foot and medial forefoot region of right foot. Finish acting, force concentration observed on the rarefoot region in driver and lateral foot region in iron on left foot. 3. Right foot forces distribution were increased in address, back swing top and left foot force distribution were increased in impact, finnish

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.131-140
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• 2020

This article attempted to apply the methodology of film acting as a performance oriented towards socio-cultural meaning to Min-sik Choi's acting. Specifically, the relationship between the body, the face, the audio, the direction and the attitude toward film technology mentioned in the interview dictation of actor Choi Min-sik was analyzed. In conclusion, Min-sik Choi's acting cannot be defined only by method acting, but implies or integrates the typical or avant-garde acting theories such as Stanislavsky, Strasberg, Mayerhold, Brecht and Grotovski. Above all, it is the presentation that expresses the flow of life through movement suggested by S. Kracauer. The feeling of compassion that Choi Min-sik himself emphasizes is in contact with the essence of the film that reproduces the flow of life, and it expands to an intended screen performance with a certain purpose. The screen performance that can be compressed with compassion and the flow of life is expressed by Min-sik Choi's various personas. His persona, transcending good and evil, reflects the present of Korean society.

• Journal of Mechanical Science and Technology
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• v.19 no.11
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• pp.2061-2067
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• 2005

In this study, we focus on the submerged plate built into the Very Large Floating Structure with the partial openings of Sm long, which enables the reverse flow of incident wave to generate the wave breaking. The purpose of this study is to investigate the characteristics of wave exciting forces acting on the submerged plate and the fore part of VLFS. Firstly, we have carried out the extensive experiments to understand the characteristics of the wave exciting forces. Then we have performed the numerical simulations by applying the Marker and Cell method (MAC method) and compared with the experimental results. We discuss the validity of MAC method and the effects of the submerged plate on the motion of VLFS. As a result, we get the conclusion that the submerged plate is useful for reducing the wave exciting forces acting on the structure behind the submerged plate.

• Transactions of the Korean Society of Automotive Engineers
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• v.22 no.5
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• pp.108-115
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• 2014

In this study, experimental approaching method was applied under and single-cylinder engine to research the performance of direct needle-driven piezo injector (DPI) for CR direct-injection. As key-point factor of this DPI that relies on direct-acting operating of injector needle, unlike conventional hydraulic-servo, its nozzle needle can be directly driven by piezo actuator. Thus, effect of direct-acting injection of DPI on diesel combustion and emission characteristics was investigated under common-rail single-cylinder direct-injection engine, equipped with three different driving mechanism, including indirect-acting solenoid, piezo and DPI system. As main results, it found that a direct-acting piezo injector has higher of IMEP. And it has higher heat release rate during premixed combustion and mixing controlled combustion phase due to its higher heat release, even though nitrogen oxide (NOx) formations were increased slightly.