• Journal of Korea Entertainment Industry Association
• /
• v.13 no.1
• /
• pp.59-67
• /
• 2019

This article examines how Brecht's Gestus is borrowed and transformed into the film. I examined the critical debates on the film's use of Brecht and the style of Brecht's acting adopted in radical experimental films and Hollywood films. In addition, through the case of Korean film actor/ress, I sought to apply the Brechtian theory. First, despite the criticism that the film's acceptance of Brecht is overly formal and mechanical, film theory and practice reflect Brecht's ideas. In particular, regardless of the socio-political situation of Brecht's day, his Gestus is suitable and useful for film acting. Brecht's thought was realized by technological innovations such as montage and computer special effects, and above all, the social attitude of the actor was popularized through the education of the audience. Second, his strategy on performance is no longer unfamiliar, and goes beyond the boundaries of contradictory daily life and art, and becomes the pleasure of popular film. Although the intentions of naturalism and anti-naturalism in acting arts are different, the process and effects look at the same point. Third, through the case of Korean film actor/ress as an attempt of popular understanding about Brecht strategy, I could confirm the possibility of searching identity of Korean film actor/ress.

• The Journal of the Korea Contents Association
• /
• v.8 no.11
• /
• pp.103-114
• /
• 2008

The purpose of this study is to find the theatrical style in Dogville, which was the film directed by Las Von Trier. There are a lot of Brecht Epic theatre styles in plot and mise en scĿne in the film. This study try to divide into three parts of them. First of all, the film uses the defined space as a theatrical stage in the one act play. Secondly, there are some apparatuses which was presented as a stagy style in the film. From these apparatuses, the audiences can get the human's life dialectically collided against a sense of alienation. Finally, the film shows up the mime and non-diegetic sound to get an epical stream of Brecht's style. By using these elements to construct all of the film structure, the audiences can establish their one subjecthood against the idealogical empathy.

• The Journal of Art Theory & Practice
• /
• no.6
• /
• pp.101-121
• /
• 2008

An artist, Oh Yun(1946~86)'s theory of people's art during his final period is summed up in his essay 'Expansion of Artistic Imagination and World' (1985). Emphasizing the mystic and traditional characteristics of Oh Yun's artistic oeuvre during his final period, some critics focus on Oh Yun's experience of medical treatment and shamanistic custom at Jin Do island, and his belief in Jeung San Do, the dao of Jeung-san, the Ruler of the Universe. However, they forget the practical intention and implication of his theory of art during his final period, which aimed to overcome the contradiction of revelation itself. Oh Yun's essay criticized the loss of artistic imagination and the ignorance of traditional culture that resulted from the elevation of science to a religion, and insisted that the stereotyped idealism, scientism and elitism in art should be overcome in order to recover the full reality in realism and to continue traditional cultures. The essay is comprised of 18 paragraphs. Oh Yun criticized monochromatic art, conceptual art, hyper-realistic art, objet d'art, and neo-dadaist art, saying that they were simply mechanical forms of modern art derived from scientism and a fetishistic lens culture. In addition, he criticized naturalism in art, which had continued as a tendency in the development of western art, for the same reason. He pointed out that even the world of realism had been diminished by elite stereotypes and diagrams. He declared the need to overcome the imitation of shells or stereotyped propaganda, and recover full realism, which seems to have started with a reflective examination of current problems in 'Reality and Utterance', in which he participated. Especially, he thought that universality and the extension of full realism could be achieved by building on the views of traditional cultures, which is meaningful. This logic is same as the theory of epic theatre that Bertolt Brecht(1898~1956) has developed under the ancient Greek masque and Pieter Bruegel the Elder(1525~69)'s story-like picture style. The universality of realism and the extension of acquisition to include incantation art, rather than move toward incantation art, is what Oh Yun intended to propose in 'Artistic Imagination'. This attitude is same as Bertoh Brecht's aesthetic viewpoint in the 1930s. But regrettably, Oh Yun's style wording, which seems covert and far-sighted, is often misunderstood as 'mysticism'. In the flow of people's art in the 1980s, Oh Yun was a traditionalist in a narrow sense, and an realist in a broad sense. However, his critical mind, which comprehends tradition and reality, was attempting to expand universality and extend full realism, and this attempt found many sympathizers and had an influence on the next generation of people's artists, such as "Levee" which is field-centered, to which we should pay attention. This means that while their works thought about 'tradition', we should be careful not to connect them with 'aesthetic conservatism' or 'classical art'. This is the why the meaning of Oh Yun's theory of art during his final period should be closely examined again.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.31 no.12
• /
• pp.1761-1771
• /
• 2007

The artificial exaggeration of stage costumes is thought to be one of the major techniques of enhancing dramatic expression on stage, whichever for visual impact or symbolic effect of dramatization. In the history of stage dressing, a variety of styles has been tried using different materials and production techniques. This may be reviewed as an effort to express dramatic effects more effectively. As this trend became obvious in Europe after the Second World War, this study analyzes the stage costume to deepen our understandings of the role of costumes in expressing dramatic effects. To accomplish this, we first summarized the history of stage costume materials and technical advance and chose five major cases representing the history of stage costume since the Second World War in Europe based on aesthetic and creative aspects: 1) Simplified stage of Jacques Copeau, 2) Stylized stage of Bertolt Brecht, 3) Essential stage of Grotowski, 4) Measured stage of Robert Wilson the Master, and 5) Post-dramatic stage of Philippe $Decoufl\'{e}$. In each of particular case, the historical, material and dramatic contexts were examined as well as different material-effects. The results are as followings: 1) Costume for Copeau's simplified stage: its simplicity plays a supporting role to the gesture of actors(intensifying effect). 2) Costume for Brecht's stylized stage: the artificial stylization integrates into the play with the importance approximately equal to the actors's acting. 3) Costumes for Grotowski's essential stage: costumes disappeared to emphasize only actor's presence on stage. 4) Costumes for Robert Wilson's measured stage: costumes made concrete impression to the extent of obtaining the same importance of actor's body among other stage art elements(lighting, sound, props, actor, text, etc). 5) Costumes for Decoufle's post-dramatic stage: costumes in the era of multi technology possess multi functional aspects that surrogate actors' body. This study suggests that stage costumes take an important part in dramaturgy to the extent that the intent of dramaturgy can be induced enough from stage costume. Thus, costume makers are expected to incorporate the appropriate dramatic factor more than before.

• Trans-
• /
• v.12
• /
• pp.223-244
• /
• 2022

The rapid change of the culture and art environment is led to new art & cultural education and differences in culture and art education facilities, away from the traditional closed space culture and art education. Phenomena such as plays out of the theater, exhibitions out of the art museum, and pictures taking a walk indicate that cultural and artistic educational facilities can no longer stay in the existing paradigm and are changing along with the changes in the cultural and creative world. Therefore, to develop a site-specific theater education program centered around a specific place rather than a theater or studio, in line with the changing times of cultural and artistic educational facilities, this researcher analyzes Brecht's radio play experiment and the recent performative performance experiment. Furthermore, using the regional and community values of arts and culture education confirmed as the motive for research on site-specific theater programs, I analyze the implementation and application process by experimenting with theater programs out of the theaters and studios. As a prior study, research on site-specific performances is being conducted relatively actively, but earlier studies were dealing only with the Ligna group performance cases are lacking. However, I would like to use the previous research on site-specific performance cases as an epistemological background. As a result of the study, for the place-specific theater program through a total of 10 learners, a text based on a specific place was created that did not depend on traditional literary texts. Through this, the possibility of a site-specific theater education program could be confirmed.

• Proceedings of the Korea Contents Association Conference
• /
• 2006.11a
• /
• pp.223-226
• /
• 2006

It can formulate a basic concept to the study on styles of drawing on animation which is influenced by styles of drawing on comic. Especially the transferability of comic and eel animation have high possibility because they have common part as drawing, continuity of imagery and narrative, in spit of the differentiation with comic for spatial and animation for temporal. So the study on comic drawing styles are inevitable check point for investigating it's animation. To analyse of the style of animation drawing, can be employed the styles of comic drawing. For a case study, comic authors and their works is utilized for establishing basic concept of transferring comic to animation with the influence of drawing styles to animation and than it will apply to classify and analyse animation by them. The consequence of this study, it can be sorted in the three areas that are the cheerful comic, the drama, the boy-meets-girl comic. and can be proved that the close relationship of comic and animation. Among three aspects, a boy-meets-girl comic can not be detected in any selected animations. The presumption of this result that can be apply to the general idea which is a rare case to use in animation. Also to use partly cheerful comic to drama style as different drawing styles is for elucidating the effect of intending isolation with the play theory of Bertolt Brecht and empathizing dramatical situation through the disparity of emotion. This study is to investigate on the influence of the drawing style of comics in animation, and can provide the basic ideas of inter-relation of media through drawing styles study with the concept of hybrid.

• Archives of design research
• /
• v.18 no.2 s.60
• /
• pp.37-46
• /
• 2005

Today's advertisement is dominated by visual images, which deliver messages in the most efficient and engaging way. Vivid and live images, through multimedia, attract the viewer to consume the products being advertised. In this course, the effect of 'Verfremdung' or alienation is often detected. This terminology was at first used in a epic play of Bertolt Brecht to signify a specific effect to block the empathy of the audience by reminding them of their position as the audience separate from the play. 'Verfremdung' helps them to have a sense of objectivity and critical attitude toward the performance. Multimedia commercials nowadays exhibit such a quality together with 'viewer participation:' criticism on reality: and 'speed.' In an advertisement for Shinsegi Communications' mobile system titled <017-I-Touch series, the hand transformed into a web>, the copy, 'my blood type is 'i', ' is accompanied by six unrelated fictitious scenes in which the same ocean appears as a common denominator. Because there is no connection between the scenes, free imagination of the viewer has to be involved and thus plays a significant role in making them into a context. This fact dearly exhibit some characteristics of post- modern advertisement. Momentary 'Gap' and 'Difference' between scenes contribute to 'Verfremdung' or alienation' that makes it hard for the consumers to comprehend the content on the spot. Such an uneasy situation, however, keeps the viewers thinking about the advertisement itself. While repeatedly exposed to the alienated images, the viewers come to get involved in the advertisement, trying to make the fragmented images into a coherent context. In addition, the leaps between the scenes produce a sense of 'speed' in a context, which adds more impact to the way of delivering messages using multimedia. With the help of multimedia, 'Verfremdung: which was originally intended to bring about objective and critical altitude of the audience in a play, plays a crucial role in attracting the viewer's attention and conveying a specific message in a moment in contemporary advertisement.