• The Research Journal of the Costume Culture
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• v.19 no.1
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• pp.83-95
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• 2011

Today, a variety performance premiered in Korea, works of art as an advanced production planning and production system is becoming. Accordingly, the field of stage costume also increased collaboration with foreign producers and production systems and the advancement of the stage costume are required are becoming. The opening performance of the 30th anniversary of the Seoul Theater Festival was selected as Towol Theater Theater in 2009, April 16 to 26 of Picasso's women's costume is the study of production systems. This work directing and stage design by inviting domestic producers from foreign fields, and co-authored the work in the field of stage costumes in collaboration with foreign producers that are worth study and research work. In this study, this work has a practical study of costumes throughout the production system, an advanced stage costumes to contribute to the development of the field. The research methodology book data, collected papers, Internet resources through research and theoretical studies play 'Picasso's women's stage production of the award total to an empirical study was undertaken. The results of this study are as follows. First, the costume director for making a scholarly grasp of the direction of the investigation is ongoing throughout the process of creating the costumes. Second, foreign producers and co-author of the stage when the award, if other than purely domestic producers and create costumes to build production systems. Third, foreign producers and co-costume design and costume making coherent explanation for the processing of the list(Costume Breakdown List) are developed. Fourth, the actual performance over the director's intention to visualize the presentation was good enough, and the idea of the costume crew was taken to the director's idea of directing a play that reflected the will has a big meaning.

• The Journal of the Korea Contents Association
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• v.19 no.10
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• pp.248-273
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• 2019

This research was studied in regard to theatre perspective and the directing methods of the 'Theater Duke Georg II.', the ruler of the Duchy of Saxe-Meiningen in modern Germany, in his contemporary context based on the Meininger Principle. He was a theatre-cultural politician, producer and a regisseur, who used theatre as purposive media to arbitrate domestic and international reality and enhance national prestige. Especially as a regisseur, he established directing principles and methods which was performing the original texts representing playwright's perspective targeting to creat theatre as synthesis of the arts at Meningen Company. It was innovative thing itself which was that his directing art was accompanied by new theatrical aesthetics, practical principles, and staged process. He established independence and originality of directing which was breakthrough of modern stage-director's theatre. Furthermore he layed a foundation for the development of the modern and contemporary director's theatre.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.509-547
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• 2012

The Seoul Arts Center is an representing Korean arts-complex consisting of the Opera House, the Concert Hall and the Museums. Since its opening in 1993, it has been established as a mecca of arts and the culture in Korea. Many local public theatres in Korea are benchmarking its operating system and policy. Unlike most European or American theatres, the Seoul Arts Center has no resident art companies. It is not a 'producing theatre' whose programming is mainly based on house productions with resident companies, but a 'presenting theatre' that is to be managed with rental and invitation programs without resident companies. The majority of the Korean public theatres are also presenting theatres. This study aims to research and analyze how the Seoul Arts Center has developed the programming of the Opera House for last 19 years and which challenges and issues it has been dealing with, and finally to propose what will be recommendable remedies for its successful future. The analysis is divided into four development stages: preparation period from 1981 to 1992, establishment period from 1993 to 1999, growth period from 2000 to 2006, and lastly crisis period from 2007 to 2011. Facing the 20th anniversary next year(2013), the Opera House of the Seoul Arts Center is going through recent critical situations: higher competitions among increased theatres, trends of commercial musical productions, and rapid declines in its house programs due to the low budget and unclear programming policy. I propose as a discussion to start a repositioning strategy as a Korea's representing arts-complex, utilizing all sources from inside and outside and having the policy direction.

• Trans-
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• v.9
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• pp.1-15
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• 2020

The most prominent phenomenon in performing arts in recent is the social sharing of art products. As a result of the city's reinterpretation of each local government, production of performances, activation of performances outside the theater, and performances performed in streets and specific spaces and public spaces deviate from traditional theater-based performance forms through social communication and expansion. Also, it is seen as an effort to expand the delinquency of the act. Furthermore, it can be said that this proves the publicity of contemporary performing arts. I will research the audience and learners through the Opera Estate festival, a recent exhibition in the Balsano del Grappa, Italy, which is based on the site-specific performance form that has been actively conducted several years ago.

• (The) Research of the performance art and culture
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• no.35
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• pp.9-59
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• 2017

This article describes the entertainment business system from 1907 to the first half of the 1920's. The entertainment business began at the time of Empire of Korea with the Imperial Theater called Hyeomnyulsa, which was supported by the emperor's authority and national system and run by the imperial court, especially Gungnaebu. However, after closing the imperial theater, many commercial theaters have been born since 1907, the role of the subject who dominate the entertainment business has been subdivided into financialist and agent. The financialist was replaced by civilians and the capacity of the agent has been strengthened after the introduction of Yeongeukgaeryanglon. In this condition the entertainment business had to be rationalized. In addition, before and after 1912, as the businessmen took part in the entertainment business instead of the government officials and social leaders, the role of entertainment business developed and became equipped with a modern system. Financialist who utilized economic capital was subdivided into the proprietor of a theater, investors, and bosses in the process of mobilizing the necessary funds for the construction, renovation, and repair of the theater, and agents who used cultural capital to practice and maintain performances, on the other hand played a role in expanding the diversity of the show in and outside the theater. In the theatre there was Chongmoo, Johapjang, Chwiche, and Jwadang of Gisaengjohaps, Sinpageukdans, Gyeongseonggupabaeujohap and various XXX Ilhaeng were outside the theater. They participated in the their own way. The financialist and agent used to set up cooperative relations and conflicts. The entertainment business was deepened and developed in the process of resolving the conflicts. However, Performance market could not grow as well as the possibility of a system equipped after 1915. This is because the Japanese imperialists limited the growth of the economic capital and cultural capital of the Koreans and even the composition of social capital. For this reason, Chosun's entertainment business system has grown in proportion to the absolute growth of the box office industry, but it has not developed as much as its potential capacity.

• Acta Via Serica
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• v.5 no.2
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• pp.25-49
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• 2020

This essay, based on an oral presentation, provides the non-specialist, with an evaluation of the Mongols' influence and China and, to a lesser extent, on Russia and the Middle East. Starting in the 1980s, specialists challenged the conventional wisdom about the Mongol Empire's almost entirely destructive influence on global history. They asserted that Mongols promoted vital economic, social, and cultural exchanges among civilizations. Chinggis Khan, Khubilai Khan, and other rulers supported trade, adopted policies of toleration toward foreign religions, and served as patrons of the arts, architecture, and the theater. Eurasian history starts with the Mongols. Exhibitions at the Metropolitan Museum of Art and the Los Angeles County Museum of Art confirmed that the Mongol era witnessed extraordinary developments in painting, ceramics, manuscript illustration, and textiles. To be sure, specialists did not ignore the destruction and killings that the Mongols engendered. This reevaluation has prompted both sophisticated analyses of the Mongols' legacy in Eurasian history. The Ming dynasty, the Mongols' successor in China, adopted some of the principles of Mongol military organization and tactics and were exposed to Tibetan Buddhism and Persian astronomy and medicine. The Mongols introduced agricultural techniques, porcelain, and artistic motifs to the Middle East, and supported the writing of histories. They also promoted Sufism in the Islamic world and influenced Russian government, trade, and art, among other impacts. Europeans became aware, via Marco Polo who traveled through the Mongols' domains, of Asian products, as well as technological, scientific, and philosophical innovations in the East and were motivated to find sea routes to South and East Asia.

• The Journal of the Korea Contents Association
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• v.12 no.4
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• pp.225-234
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• 2012

The purpose of this study is to explore possible ways to make a strategical use of CRM(Customer Relationship Management) for facilitating performing arts. In order to satisfy the purpose, this study investigated actual cases of CRM, primarily focusing on LG Art Center, one of representative performance venues in South Korea, and CREDIA, a performing art planning agency in South Korea. Here, it was found that LG Art Center operated its independent TMS(Theater Management System) and thereby could afford to successfully plan performing art programs on the basis of customer-oriented convenient ticketing system as well as a pile of customer information. On the other hand, CREDIA introduced advanced performance management system and has successfully attracted larger membership than before. Moreover, it organized specialized personnel in membership management and thereby could manage membership in systematic manner. And it was found that based on web log analysis, CREDIA developed a variety of products to comply with customer needs and thereby could realize higher returns and better customer satisfaction through cross-selling activities as well as performance ticketing. However, it was found that CREDIA still operated its membership system and mileage point system in stereotypes manner. Thus, it is required to operate differentiated membership system based on membership grades and diversify practical ways to save and use mileage points, so that CRM can be strategically applied to develop new audience and maintain loyal customers.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.91-100
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• 2019

It is an undeniable that cultural landscape of Korea is centered in Seoul, where all the cultural powers are oriented. From this aspect, a municipal theatre of Daegu (Daegu Municipal Theatre), where is considered an area somewhat isolated from the perspective of culture, has managed to develop theoretical programs serving public purposes through efforts on the diversification of performance programs, development of creative plays, acceptance of open direction, classic, modern and experimental plays, foreign exchange, musicals and non-verbal, development of modern and post-modern history of the region, aggressive exploration of subjects, and characterization of the theater through citizen-participated programs and communication with citizens. With such efforts on diversification of public benefits and communality conforming to its purpose, it has been recognized for its contribution to the recovery of popularity of performance art and plays in Daegu. The Daegu Municipal Theatre, celebrating the 20th anniversary of establishment this year and having Choi Ju-Hwan as its fifth art director, has managed to conduct various experimental attempts to gain popularity and these include the exploration of the region and its historical figures, development and promotion of creative musicals, and promotion of communication between citizens and performance culture and of participation of audiences, in turn having a stabilized operation system. Such changes are seemed to be attributable to the maturity of performance production and roles of senior members. From this aspect, this study aims at investigating the changes in the Daegu Municipal Theatre and 'roles and popularity of national/public theatre companies.

• The Journal of the Korea Contents Association
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• v.13 no.5
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• pp.170-182
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• 2013

The purpose of this study is to examine the influence of the leadership style of a CEO of a public performing arts theater to the quality management and business performance, with a focus on the differences by the leadership styles. For this purpose, a survey was conducted with the CEO of 165 public performing arts theaters in country, from whom 98 valid replies were collected for analysis and further validation of hypothesis of this study. The validation revealed that, first, the task oriented and change oriented leadership provided positive influences to the quality management activities, while relations oriented leadership failed to do so. Secondly, the quality management activities by the CEOs of the public performing arts theaters had positive correlations with the financial performance and market performance, which are part of the business performance indices of a performance art center. Thirdly, while the task oriented and change oriented leadership styles did have influences over the business performance; it was revealed that the quality management activities wielded only indirect influence toward such elements. The relations oriented leadership style appeared to fail to influence with significance. Such results as above show that only the task oriented and change oriented leadership style of a CEO in a public performing arts theater had positive influences over the business performance, with an implication that the CEOs of such facilities shall keep this in mind and exercise such leadership styles. In addition, another implication of this study was that it is also important to give efforts to the quality management activities, which turned out to influence the business performance significantly. The implication of this study is that the study was conducted with direct participation by the CEOs themselves of public performing arts theaters in country and an examination was made to see the differences by leadership styles.

• Cross-Cultural Studies
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• v.40
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• pp.239-264
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• 2015

In the early 20th century, Japan built theaters to take possession of colonial culture while establishing the Imperial University, libraries, and museums to accumulate and spread the knowledge of "imperial" Japan. Many different genres made a hit in theaters including theatrical troupes, theatrical companies, and motion pictures. One of the various features of expositions was "spectacles" or unusual events. They were integrated with a national festival in celebration of "5th anniversary of political commencement." In 1915, the longest hit series in Keijo (Seoul) was the dance performance by professional Japanese beauties and entertainers, whose songs delivered the legitimacy of governance. This study focused on the performance in the space of "cultural" spread called theaters, thus examining the "imperial" cultural waves they were in charge of. The study also focused on the tensional relations of Hierarchie along those cultural borders. The performance at the theater Engeikan(演芸館) in 1915 was especially an epoch-making event in the Japanese theatrical community of Keijo (Seoul): first, it marked the emergence of large-scale performance hall called Engeikan(演芸館); secondly, the performance kept its ongoing, stable streak for about 50 days; and it led to the appearance of leading troupes including Geijutuza(芸術座), which put on a show in Keijo (Seoul) in November, 1915. The study examined the issues of theater Engeikan(演芸館) performance in 1915 involving the art company, performance genre, and audience composition, showed that there was the coexistence of entertainment and governance through cultural ruling while securing amusement and entertainment, and found it was accompanied by the organized operation of "Keijo Sponsorship Council（京城協贊會）" which brought together the cultural capabilities of Japanese people living in Joseon. The performance at theater Engeikan(演芸館) in Keijo (Seoul) in 1915 fully reflected the issues involving the tensional relations between different artistic genres, the competing relations between the subjects of performance, and the cultural power.