• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.3
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• pp.1-17
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• 2020

The Peking Opera is one of the most representative cultural aspects of China. It includes China's traditional specialties, such as stage performance, stage background, and costumes. The purpose of this study is to investigate the characters and the costume characteristics of the Peking Opera to present fashion design. This research is meaningful for spreading the Peking Opera to the world by applying China's traditional costumes to fashion design. Based on the cultural background of the Peking Opera and the analysis of the opera costume, four sets of women's clothes were made by using the traditional Chinese elements. The conclusions are as follows. First, traditional features such as patterns, colors, and styles from Peking Opera costumes were used in fashion design. The colors and patterns use Chinese traditional aesthetics to carry out contemporary fashion design and apply creative materials. Second, the neoprene used to create the items is a material suitable for the modern design of the traditional Peking Opera costumes. Neoprene has good elasticity and can be cut and sewn in a variety of ways. It can also satisfy the three-dimensional atmosphere and rich morphological changes found in Peking Opera costumes. In addition, a combination of thin chiffon and mesh materials is also suitable for the development of modern designs. Finally, in order to show the effects of traditional works, the patterns were finished by hand-painting. The hand-painted works were then scanned and printed on the material by the digital printing techniques. At the conclusion, the traditional features and feelings of the contemporary designs were presented.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.2
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• pp.194-205
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• 2012

Historically, garments have been spontaneously made with human instinct in order to warm and decorate the body using textiles that have been made and used by various peoples in different cultures. Contemporary garments have been used as a means of warming as well as express individual personality and a desire to pursue beauty. They have a unique formativeness and a symbolic nature according to cultural phenomena that reflect a cultural outcome that expresses contemporary thinking and ideology as well as their aesthetic consciousness. This study globally promotes Chinese opera mask culture and proposes the possibility of creative thinking through the introduction of Chinese opera mask elements into contemporary fashion, expressing them as patchworks. In order to endow artistic value (required in contemporary fashion) this study creates works by analyzing and applying a formative sense seen in patchwork techniques and the characteristics of Chinese opera masks; in addition, it sought the possibility of new expressions in garment designs. The results obtained from the research involve the following. First, the introduction of the traditional patchwork technique to contemporary garments may be a dynamic theme of garment expression and exceed stereotypical ideas that enable the creation of designs attuned to the globalization era. Second, it was possible to pursue independent formativeness which is in harmony with a modern sense through the restructuring of the harmony of colors and practical characteristics found in patchworks. Third, it was possible to demonstrate their artistry and unique effect in the expression of contemporary garments by the expression of the analyzed results of characteristic patterns of Chinese opera masks with a patchwork technique in creating works. Results show that it is necessary to conduct research into a patchwork technique that applies diverse materials as a new method to develop contemporary garment design also as a creative design. In addition, if the analyzed results of the characteristic patterns of Chinese opera masks can be expressed with a patchwork technique, they may be able to exhibit a genuine effect along with the artistry of expression in contemporary garments; thereby, relevant follow-up research should be further continued.

• The Journal of the Korea Contents Association
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• v.17 no.2
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• pp.149-159
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• 2017

South Korea and Japan are closely located in the Chinese character cultural area, so we have developed our culture not only with many similarities but also with own distinct ways. These were also in adoption and development of Western music. Unlike Korea, Japan is showing its potential through Opera 'Yuzuru'. Even though opera is Western music style, communicating Asian culture through their own language is one of the important issues to secure status as a cultural power in the world. As the field of opera is expanded to media entertainment with the development of digital technology, it is necessary to compare the development process of Japanese and Korean opera, which used contemporary opera as a tool of communication between cultures, It will help to develop into performing arts contents.

• Korean Institute of Interior Design Journal
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• v.18 no.1
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• pp.3-10
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• 2009

The relationship between light and space is fundamental In an opera stage design. In contemporary stage design, light, color and space themselves became one of tile most important elements to express and symbolize the content of the opera. This was very different compared to the primitive and medieval opera stage design in the past. The designer tried to represent the same periodical background of the opera with exact replica of the buildings as well as costumes. In comtemporary performance art, light became one the most important aspects in design. Max Keller is one of the living pioneers in stage lighting design. This thesis that is based on his lighting experiments and projects attempts to examine how contemporary stage design and light are applied and what kind of characteristics they have. One of the Wagner's opera, "Tristan und Isolde" was selected to be further analyzed. Three different "Tristan und Isolde" opera stage designs were carefully studied in terms of how three designs are differently constructed for specific same contents of the opera. This sort of comparison study is crucial when there is a strict parameter that is the opera itself. It was found that three opera stages have very different stage designs and unique ways of expressing the opera flow and contents. However, in some parts, very similar lightings were used. This sort of multi-disciplinary study can be helpful to re-think the interior environment by applying light as a fundamental medium.

• Fashion & Textile Research Journal
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• v.13 no.3
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• pp.299-308
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• 2011

The purpose of this study was to research the heroines' fashion styles in the opera, "La Boh$\`{e}$me." This article studied the representations of the grisettes in 1830's France and the characteristics of the grisettes appeared in the original novel, "Sc$\`{e}$nes de la Vie de Boh$\`{e}$me" and contemporary literatures and paintings. The one of the heroines, Mimi was figured a virtuous female despite poor environments, by contrast Musetta was described as cruel, greedy and vicious female in the opera. But, by analyzing the original novel and the representations of the grisettes in contemporary literatures, this study figured out clearly Mimi and Musetta have same origin and similar aspects, not contrast. Up to the present mimi's costumes were not sophisticated but too simple compared to Musetta's. Also Musetta's costume were too much luxury considering her status. This study proposed a new fashion style considering not only analysis result of the heroins' characteristics but contemporary costume design of the 1830's France.

• The Research Journal of the Costume Culture
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• v.25 no.4
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• pp.458-475
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• 2017

Opera is the most comprehensive musical art. In recent years, contemporary opera worlds has seen a variety of attempts to reinterpret operas of the past in a modern light. This has resulted in a dramatic change in the production of musical style and stage art. The purpose of the study was to modernize and streamline opera costumes by extending the scope of existing stage costume design, through the reinterpretation and application of the decorative elements in the Middle Age of Rococo, such as ruffles, frills, shirring, embroidery, buttons, etc., in such a way as to effectively communicate the moods of an opera to a modern audience. The costumes of the Rococo period were reinterpreted in a modern way, with the following results. First, in this work, the male main character was played by a bass to express the image of an older, lazy, rich man. A key element in modernizing the stage costume was selection of the costume color in such a way as to visually represent the voice tones sung by the major characters in the opera. Second, the maid hat and aprons were decorated with frills by applying the curves of Rocaille decoration from the Rococo period symbolize the role of the maids. This represented the distinction between occupation according to class and status at that time, while also expressing the ideals of modern feminine beauty. This makes for more comfortably-worn costumes, and is economical for production expenses. In the future, the stage costume design for classical opera will need to be revised consideration of a modern viewpoint.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.7
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• pp.1065-1077
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• 2010

This study researchers the libretto and the original novel of the opera to propose fashion styles and stage costumes for the opera, "La $boh\grave{e}me$." This article studied the meanings of the $boh\grave{e}me$ in the 1830's France and the characteristics of the $boh\grave{e}me$ that appeared in the original novel, "$Sc\grave{e}nes$ de la vie de $boh\grave{e}me$." The characteristics of bohemian fashion styles in the $Sc\grave{e}nes$ de la vie de $boh\grave{e}me$ were not normal, not related with trends, and not new. Before presenting the new fashion styles, this study examined the stage costume problems of La $boh\grave{e}me$ with five existing performance materials. In conclusion, this study proposed new stage costume designs that reflect more dramatic fashion expressions of the characters, expression on the passage of time, and contemporary fashion records.

• Cartoon and Animation Studies
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• s.51
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• pp.1-33
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• 2018

In contemporary performance arts, we can see diverse types of performances that use advanced technology and visual media. It is notable that animation based on narratives and images, is grafted on to performance arts. Cases emerge that introduce animation in opera performances as part of a new stagecraft. Regietheater that turns on directors' interpretation, has been expanded in full scale through major music festivals and theaters through many different attempts to embody. In this state, recently visual media have been actively employed in opera performances. It has led to expansion of time and space along with more attempts. Not least of all, introduction of animation has been conducive to reinforcing functionality of opera performances in many aspects. This study suggests requirements for ideal Regietheater production in opera performances. For this end, the functions of animation strategically used are evaluated through analyzing $Zauberfl{\ddot{o}}te$)> production of Komische Oper Berlin. Through this research, this study is to look deeply into effects created from new and different attempts by grafting animation on to opera performances.

• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.283-294
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• 2022

In this era of globalization, people's knowledge and cultural aesthetics are strongly influenced by the cultures of different countries, and diversified art forms have broken the traditional art framework, so how to stick to the essence of the country's traditional culture and make it inherited has became an important issue that cannot be ignored in the development of music today. Tan Dun, as one of the representative figures of Chinese contemporary music, has brought important inspirations to the development of Chinese music. With bold and free conceptions, innovative personality, unique Chinese tradition and international perspective. With a spirit of breaking down the barriers between tradition and modernity, East and West, and a concept of integrating multiple cultures into one, he has become a unique figure in the world of music. As researchers in composition, not only do we take on the responsibility of passing on Chinese culture, but we also need to explore the future development direction of Chinese music. Therefore, this paper takes Tan Dun's four traditional musical elements of organic music, Buddhist culture, witchcraft beliefs, folk songs and opera in his works and examines how Tan Dun perfectly blends traditional Chinese music culture with contemporary music language. And explore how the domestic traditional culture co-exists with modernity in today's diverse world.

• Korean Institute of Interior Design Journal
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• v.26 no.2
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• pp.55-63
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• 2017

Recent projects of Japanese architect, Ito Toyo have been evolved into innovative and experimental stages that are unique and different from other contemporary architects. Since Ito established his own office in 1971, there were several critical changes and developments in terms of architectural philosophy as well as design methods. Particularly, after Sendai Mediatheque, Ito has tended to focus on creating three-dimensional organic body in which architectural form, space, structure, facilities, images are merged all together. With this new type of three-dimensional structure, Ito aims to generate a new notion of architecture as 'living organism'. This paper tried to analyze Ito's new concept of architecture, design process of three-dimensional organic body and its ultimate characteristics and meanings. For the analysis, three projects were selected: Taichung Metropolitan Opera House(2005), Berkeley Art Museum and Pacific Film Archive(2007), The New Deichman Library in Oslo(2008). These projects clearly represent several types of three-dimensional organic body. After the comparative studies, it is found that, in Ito's design process and method, there are unique characters: ambivalent relationship between plan and three-dimensional form, aiming new/hyper reality through complicated collaboration of analogue and digital design tools, and contradictory relationship with surrounding urban context. Although there are some limitations and restrictions, ever-evolving Ito's design concept and methods are very much valid and meaningful in contemporary spatial design in various perspectives.