• (The) Research of the performance art and culture
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• no.36
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• pp.649-691
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• 2018

A number of studies on the educational influence of drama and theatre have increased since the 1990s in South Korea. These days, more Korean researchers seem to have recognised the educational influence of drama and theatre than before. At this time, it is meaningful to look into how the domestic trend of studies has changed and developed over the past thirty years. This paper especially adopted a bibliometric method to analyse the trend by time of studies from the late 1990s to 2017. In addition, target age, research topic and research approach of each study were investigated. Some of terminologies particularly used in South Korea were also defined to help young researchers' understanding in this paper. In detail, the total number of studies for the last thirty years is 225 and the first domestic study on the educational power of drama and theatre was published in 1994. In the 2000s, there was quantitative expansion in terms of the number of studies and topics. Eventually pragmatic and integrated features of the studies were found in the 2010s. It is anticipated that the pragmatic and integrated features of the studies will be stimulated to fit into the need of the time. Until now, the most fevered research target age was mainly primary school students. However, it would be possible to widen a target age range in the future. It should be considered having collaboration among researchers who have different expertises for conducting higher quality studies.

• (The) Research of the performance art and culture
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• no.18
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• pp.379-412
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• 2009

According to "Jinjak-yigwe(進爵儀軌)", a special banquet was held at Yungyungdang(演慶堂, a kind of royal theatre) to celebrate the 40th birthday of Queen Soonwon(純元王后) in 1828. This banquet is famous for the presentation of nineteen new Jungjae(呈才) repertoires that the Crown Prince Hyomyung(孝明) created. In order to explore the theoretical basis for the reproduction and presentation of Yungyungdang(演慶堂) Jinjak(進爵, a type of royal banquets), in this article, the imagination and experience of the presentation of Yungyungdang Jinjak are pursued, while focussing on audience's reception. In Yungyungdang Jinjak, King Soonjo(純祖), Queen Soonwon and the prince were the special audience; they participated in the procedure of Ye(禮, etiquette of ceremony) and also were considered as the characters of certain repertoire of Jungjae. Hyomyung arranged the spectacles from the myths of Taoist gods and immortal hermits, as well as historic episodes of the past emperors' elegant tastes of music. These mythic and historic images lead the audience toward the imagination and experience on the transcendental world. Hyomyung, managing the administration as the representative of King Soonjo, tried to show absolute royal authority through the splendid performances of Yungyungdang Jinjak, so as to overcome the politicaly difficult situation. He set up the sacred world for his father King Soonjo, distinct from the secular ordinary world, and emphasized his position as the bridge between the two sides. He expressed his filial duty through the devotion of performing arts to display absolute royal authority.

• (The) Research of the performance art and culture
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• no.35
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• pp.441-470
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• 2017

This paper deals with three issues related to influx and change of the Confucian Shrine Ritual Music. First, the musical instrument of the Akhakgwebeom-wooden frame-form used in the current Confucian Shrine Ritual Music is not a form that came in when the Daesung-Aak of the Song Dynasty was introduced in 1116, but it is a Yuan Dynasty form brought from the Ming Dynasty, in the 19th year of King Kongmin. In the Song Dynasty of the Goryeo Yejong era, when Daesung-Aak came in, there was not yet 'Baeso', a musical instrument of the Akhakgwebeom form, which first appeared in the Yuan Dynasty. A new musical instrument named 'Baeso' appears with the 'So' in the later period of King Gongmin, and it is very likely that this 'Baeso' is the musical instrument of the present Akhakgwebeom form. Second, although the form of the 'So' in the Joseon Dynasty recorded in the Akhakgwebeom was followed by the Chinese one, but the pitch and arrangement are the one of the pitch of '12 Yul and 4 Cheongseong' and the arrangement of the pitch from left to right. Third, in the 1930s, the whole form was the same as that of the Akhakgwebeom, but there existed two types, which several pipes stick together or pipes fall apart. But since then, as seen in the musical instrument located at Kyungpook National University Museum and in instruments currently used in Confucian Shrine Ritual Music, only musical instruments exist which pipes fall apart. It is unclear for what reason and to what extent the 'So' were so transformed, but it would be appropriate to re-establish the form of the 'So' in the musical and historical point of view.

• (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]

• (The) Research of the performance art and culture
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• no.39
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• pp.549-580
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• 2019

There are many festivals in the region that mainly use traditional performing arts. Traditional performing arts has a story that incorporates the history of the area, and it is easy to build a brand that can be distinguished from other areas through traditional performing arts, so it has conditions that are easy to grow in the local festival it can. In this paper, I researched the relationship between the significance and regionality of regional performing arts, referring to the case where traditional performing arts, which is a joint cultural heritage of East Asia, are transmitted as a festival. The performance art with strong locality has grown into a local festival, and the Kanto Festival (竿燈) held in Akita prefecture in northeastern Japan was selected as a representative example of that area. Along with the Aomori Nebuta Festival and the Sendai Tanabata Festival, the Kanto Festival is called the 3 major festivals in the northeastern part of Japan. It was designated as an important intangible folk cultural property in 1980 and became more famous. It visited Seoul several times after the 2005 Japan-Korea Exchange Festival event. It is widely known as a regional festival that represents Japan. The Kanto Festival, which was a participatory event on a village basis, has faced problems such as the migration and aging of young people since the 1970s. In order to solve this, they led the participation of schools, educational institutions, and various groups beyond the village unit and persuaded the participation to the local companies. They have been steadily promoting free lectures on technical skills and school visit events that induce children's interest. As a result, the number of moths mobilized in the current festival has reached 250, and the Kanto tournament also shows great popularity every year.

• Journal of the Korean Institute of Educational Facilities
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• v.12 no.5
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• pp.25-34
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• 2005

The Educational Cultural Center for Students is a new mixed-cultural space which made around 1997 for students' education of humanism and talent with the 7th revision of educational course. This Educational Cultural Center for Students is different to the existing one because the subject of the culture is students who make creation and performance by themselves while the former ones were for seeing, hearing and feeling things. There are seven Educational Cultural Center for Students all over the country and will be built more in the future. Comparing to the former Educational Cultural Centers for Students, functional rooms in the Educational Cultural Centers for Students are an outdoor performance room, a large performance room, a small performance room of performance facility, a gallery of display facility, a gymnasium, a swimming pool, a fitness room, a table-tennis room of physical facility, a library and a reading room of a book facility, and a group room, a computer room, a singing room, a billiard room, an art room, a musical room, a dancing room, a manner room, a playing room, a cultural lecture room and a seminar room of a interest-activity facility. The result of analyzing the usage frequency is that a performance room has the highest frequency and a display room, a musical room, a music appreciation room and a physical room follow the frequency order. But this frequency does not fit for all area. By place and social situations, the frequency and space organization may be changed.

• (The) Research of the performance art and culture
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• no.37
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• pp.327-363
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• 2018

Bhutan's mask dance drama, Cham is performed in the festival of Tshechu. Originating from the 17th century, Tschechu is a religious ritual as well as a traditional festival held to commemorate the birth of Padmasambhava, who spread Buddhism in the kingdom of Bhutan. Bhutanese Cham and Tibetan Cham share similar traits in their content of , , and in their characters of Pawo and Pamo. Meanwhile, , , , , , , , are distinctive performances of Bhutanese cham. Moreover, the clown character Atsara in Bhutanese cham is a character that does not appear in the Tibetan Cham. Atsara, a humorous character, can be identified by its use of a long phallus ornament on the head or by a distorted face mask with a phallus in its hand. Bhutanese Cham, originally from Tibet, is a religious mask dance drama handed down in Lamaism temples. In later generations, new performances reflective of Bhutan's history, myth, legends, and religion were added in large amount. Thus, the Cham of Bhutan now has very independent and characteristic aspects.

• (The) Research of the performance art and culture
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• no.32
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• pp.525-547
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• 2016

The purpose of this study starts searching a new method for preservation, succession, and research of folksongs in the situation that the function and transmission of folksongs are transformed or disappear by being behind modernization. Also, trying to develop a new method of study of folksongs along with a new view of them, I put fusion in the heart of the study. Fusion means a structural change in the middle of the process of combination from more than two things. Moreover, in order to practice the fusion method of study consilience in a view of study is necessary. The interdisciplinary study beings in accepting differences between academics as long as the differences have a meaningful value disassemble and differentiation are repeated. That is, fusion means rebirth through disassemble. According to this logic, we need to disassemble the folksongs for fusion study of folksongs, research the structure and component of folksongs in a new view and understand each part of the wholeness of folksongs. On top of that, we need to try combine the parts with anything else or interpret them with consilience. In this study, I researched the previous example in the fusion or integration of folksongs and Korean classic poetry in the time of enlightenment of Korea. In addition, I studied the way of fusion folksongs as culturology, bio-sociology, and sympathy. Looking back folksongs in a variety of view, we can realize folksongs are disassembled or differentiated at the same time they reborn and are interpreted in a new view.

• (The) Research of the performance art and culture
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• no.34
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• pp.43-71
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• 2017

Theatre for young people which have been barely survived after 1990's are attracting new attention because the systemic production of Theatre for young people by establishment of theatre for young people institute in national theatre company has affected and the influence of adolescent on society has been increasing. It brought the phenomenon that theatre for young people becomes young writers' first work. The national chaggeuk company of Korea firstly showed the work which can be described as theatre for young people in 2013. It seems to be meaningful to examine how the critical mind of theatre for young people is expressed in changgeuk because its writer and director are all experts on theatre for young people and theatre for young people takes a part among vigorous experiments of changgeuk. This study starts with the premise that it is necessary to examine the meaning and the direction because it's the first theatre for young people. It can have positive review because it highlights the present meaning of tradition which channgeuk has by contemporary questioning and it keeps the identity of channgeuk by making it focused on rhythm despite various musical attempts. However, it seems to be solved that it weakened the possibility of voluntary playgoing by putting distance to audience with emphasis of dramatic aspect and curtail of commentary. As the way to solve this problem, it is suggested to be an effective strategy to set the goal direction and repeat various description.

• (The) Research of the performance art and culture
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• no.18
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• pp.283-314
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• 2009

This paper is an attempt to examine historical drama which change rapidly in the manner of seeing history. Historical records are treated differently unlike in the field of modern history. Now the distinction between historical facts and fictions becomes no longer important. This change is affected by micro history, new cultural history, or post-modern history. History and narrative become interactive each other. In this respect they are no more historical drama. by Han Areum (director Suh Jae-hyung) represents this new trends. Of course, it doesn't suddenly pop up in 2005. It began in by Lee Yoon-Taek, was reinforced in by Kim Tae-Woong, and bloomed in . I intended to search important features of by following three. First is the interest about unimportant persons such as a maid of honor, an eunuch. In , they are the main characters. The author described much about those trivial people revealing the truth in different way of the existence. Second is the way of calling a past. In this piece, the past is not continuous. The past always appears at the stage by the present in the form of split which is imagination, recollection, revival. Third is a mixing genre. Comics, melodrama, and thrillers are all together in . This is a similar phenomenon to historical novel and movie of new trend. Strictly speaking, this piece isn't a history thriller. The accident of lost prince doesn't be treated importantly and the result isn't clear either. In this piece, detective genre is used for a symbol showing that writer pursuits the history, not the event. This represents well the characters of new historical drama because how historical facts are carefully recreated and constructed are important. It's enough to show the possibility to mix genre through comics and melodrama.