• Journal of Korean Theatre Studies Association
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• no.48
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• pp.127-170
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• 2012

The primary concerns of this thesis simply stems from the curiosity of how the playwright Kim Jihoon lookouts a peculiar change of our spiritual, physical world. His lately work, , deals with a tribe of mixed blood who are either not shared by, or excluded from a national system, putting the writer's emphasis on some hints that informs us his outlook on the world. And these hints summon the following doubts. What is the significance of constituting a national community in this age, particularly in the time when the end of national people is frequently being referred? In strengthening national compositions, can the national identity be a pivotal element and central mechanism? Can the identity be able to exercise the hegemonic functions containing the political rights of decisions? Does the identity still dominate the various collective bodies such as genders, races, regions, professions, generations and classes etc? Finally, as the manifests, can the national identity be a desirable alternative that may cease both confusions and disorders evoked by the collision of heterogeneity? To find the answer, the study starts from a search for the origin of the complexities immanent in the mixed blood. The terror syndrome and the ambiguous identity, both residing outside the border of normality, will characterise the origin. Then I will focus both on the tribe's desperation itself and their present hope, in order. A myth of creating a country, making history and nationalism, all these are converged in their resistant ideology. This thesis ends with no clear conclusion, and yet suggesting the three presumptions the text insinuates: nomadism, a new barbarism, and the heterogeneity that awaits for our re-reading, and hoping that the three will lead the 'being-to-come' of the tribe, as an alternative of their future.

• International journal of advanced smart convergence
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• v.11 no.2
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• pp.135-141
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• 2022

This thesis examines a significant way to enhancing and improving the term/phenomenon of performer training system in contemporary Korean theatre. To articulate the matters, this research engages in discussing and criticizing those problematic issues that we, as an instructor/trainer, have faced with through the last decades in the field of performer training and education. Specifically, we concern with the necessity of an applicable and appropriate educational/training system where each student-actor would discover his/her own adaptability by evaluating what a specific method and approach is. This atmosphere accurately provided by an instructor/trainer can also facilitate and enhance the young students' potential possibilities and/or talent, that is, as we argue a way to accomplish each performer's true nature. To achieve the goals, we underlie the necessity of establishing and/or settling performer training program/course by means of an alternative path. The research finding shows that within the atmosphere each student could share then interrogate what a possible or ideal way is according to his/her comprehensive understandings with clearer purpose: what kind of performers would you produce, train, and/or educate.

• Journal of Korean Theatre Studies Association
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• no.40
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• pp.97-124
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• 2010

In Manpasikchok(die Welle $bes{\ddot{a}}nftigende$ und Friede stiftende $Zauberfl{\ddot{o}}te$) trift der Protagonist Chongsu im Traum seinen Vater, den er nach der Trennung $w{\ddot{a}}hrend$ des Koreakrieges nicht wiedergesehen hat. Sein Vater besucht das Grab seiner Mutter, die nach der Trennung 56 Jahre lang allein gelebt hatte. Die Vaterfigur in Manpasikchok, die Oh Taesok gestaltet hat, ist die Vater-Imago des Autors. Sein Vater ist $w{\ddot{a}}hrend$ des Krieges von den nordkoreanischen Soldaten nach Nordkorea geschleppt worden und kam nicht $zur{\ddot{u}}ck$. Manpasikchok ist ein Versuch, seinen Wunsch, mit seinem Vater, den er durch die Teilung Koreas nicht wieder sehen konnte, wiederzutreffen und endlich Friede zu $schlie{\ss}en$, auf der $B{\ddot{u}}hne$ zu verwirklichen. Die Vater-Imago in Manpasikchok bleibt aber nicht auf der bibliographischen Ebene, sondern erweitert sich zu einem Archetyp der nationalen Mythologie, indem sie mit dem Mythos Manpasikchok zusammengebunden wird. Dadurch wird das $St{\ddot{u}}ck$ zu einem Diskurs um die koreanische Wiedervereinigung erweitert. Oh ${\ddot{u}}berlegt$ sich in seinem $St{\ddot{u}}ck$ ${\ddot{u}}ber$ die $M{\ddot{o}}glichkeit$ des Zusammentreffens und der $Vers{\ddot{o}}hnung$ zwischen den $S{\ddot{u}}dund$ Nordkoreanern, die seit ${\ddot{u}}ber$ 50 Jahre lang in ganz anderem System gelebt haben. Das wird durch die Szene des Treffens des Protagonisten mit seinem Vater auf der $B{\ddot{u}}hne$ exemplarisch vorgezeigt. In Manpasikchok wird die Grundlage zur inneren Vereinigung vorbereitet. $Zun{\ddot{a}}chst$ wird aus der Sicht der Nordkoreaner die $s{\ddot{u}}dkoreanische$ Gesellschaft, die an Habgier verhaftet ist, kritisiert. Als Alternative dazu wird das Gewissen, das die Habgier korrigieren wird, vorgeschlagen. Durch die Dialoge der Nordkoreaner wird die Wichtigkeit der Kommunikation betont, die erst dann verwirklicht werden kann, wenn sich die $S{\ddot{u}}d$- und Nordkoreaner mit gegenseitigem Vertrauen treffen. Manpasikchok bietet eine $M{\ddot{o}}glichkeit$ der kulturellen Vereinigung, indem sich die Leute aus beiden Teilen Koreas trotz des Dialekts gut kommunizieren. $Dar{\ddot{u}}ber$ hinaus bindet Oh Taesok das Volksspiel aus Nordkorea Bukchong $L{\ddot{o}}wenspiel$ mit dem $s{\ddot{u}}dkoreanischen$ Puppenspiel zusammen und veranschaulicht die Vereinigung als eine Perfomance auf der $B{\ddot{u}}hne$.

• The Journal of the Korea Contents Association
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• v.14 no.5
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• pp.95-106
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• 2014

Meyerhold's 'Biomechanics', which germinated from a critical point of view towards naturalism theatre, is a primary acting method that attempted to approach to acting in a material way, along with Stanislavski's 'System'. However, not only for a reason of the political background that all study on Meyerhold were forbidden in Russia but also for a reason of universalization of Stanislavski's 'System' through the world mutated into American acting method, it is a fact that Meyerhold's 'Biomechanics' is not actively utilized in a field of actor training at the present day. Especially, in case of actor training in Korea, 'Biomechanics' is also misunderstood as a method only focused on an actor's physical approach. Therefore, a purpose of this study is to explore usefulness of 'Biomechanics' in order to practically apply it to the actor training through correct understanding.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.103-116
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• 2020

This paper starts with the recognition of the problem of the need for a link between text-centered acting and body-centered acting. This study is focused on Brecht's theory of acting to overcome loss of presence by repetition which have been discussed many times by not only actors, but also acting educators. Brecht's acting theory has already been mentioned by many researchers as an alternative to conventional actor training. However, not many studies have been conducted on practical applicable methods. The purpose of this study is to provide the basis for the actual practice of Brecht acting and possibility that his acting theory can serve as a link between text and body-centered acting theory. As a research method, we first conduct theoretical considerations on the concepts and limitations of text-centered representational acting and body-centered post-drama acting. Then distinguish between text and body-centered acting tools among Brecht's epic theatre, to summarize the terms and concepts he uses and to identify the existing effects he reaches while acting. Finally, this paper proposes an teaching model that transforms and develops Brecht's acting theory through the writer's teaching experience. However, there are limitations in generalizing its effectiveness because this study is based on the writer's experience. We hope that further research will help the diversity of acting education by developing in-depth insights on Brecht acting theory and various models of acting teaching methods.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.7
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• pp.4441-4449
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• 2015

The purpose of this study is to find out how children's musical is done in the early childhood education field. To find out the realities of children's musical watching, seek problems and way to improve, educationally new alternative, we selected subjects of study as follows. First, how children's musical of the early childhood education center is done? Second, how the education related children's musical of the early childhood education center is done? Third, what is the problem and way to improve of watching children's musical? To find out these, the result of the teachers(159 people) who are working the kidergarten and the early childhood education center is as follows. First, Children were very interested in watching musical and could get new, various experience and culture. Second, when watching musical, kindergarten and the early education center did pre-exploration everytime except same place. second, Of post-education activity, drawing activity related with musical content, story-making activity, developing to child's act are educationally effective. Third, whey watching musical, there is much pressure about danger and safety. So it is hard to control when children is moving. This significant result shows the importance of educational effects of the musical watching and the proposed expansion of the opportunity to experience a musical watching of the various educational approaches.