• International Journal of Advanced Culture Technology
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• v.7 no.1
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• pp.174-185
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• 2019

The purpose of this study was to research the experimental dance drama of the world-class choreographer Pina Bausch who, in the latter half of the twentieth century, broke the boundaries of genres with radical experimentation and overcame the limits of expressionism dance tradition, creating her exclusive dance drama. Pina Bausch was born in Germany and naturally inherited the expressionist dance tradition, but did not stay there and introduced the post-Brecht drama theater through radical experimentation. Her bold attempts have overcome the limitations of the expressionist tradition and have revolutionized the genre of dance and have played a role in expanding dance arts while pioneering her own dance language.

• (The) Research of the performance art and culture
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• no.19
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• pp.191-220
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• 2009

The aesthetics of Korean pantomimic mask-dance-drama is studied in this thesis. The scripts of the pantomimic mask-dance-drama were recorded generally, explanatorily and interpretively. The emotion and psychology are expressed by the look and body language. The mimic expression of the pantomimic mask-dance-drama was analyzed intensively. The speech drama is richer and deeper than the pantomimic mask-dance-drama at the aspect of the power of expression.

• The Journal of the Korea Contents Association
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• v.14 no.8
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• pp.130-136
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• 2014

In national copyright law, dance is included in dramatic works. Considering the differences of conception of drama and dance or that of legal handling, however, it is reasonable that choreographic works be separated; so are the cases of many different developed countries. It is different that through lines emotion is communicated in drama but through physical movements in dance. Thus as dance is separated from dramatic works, it is possible to discuss unique qualities of choreographic works.

• Journal of the Korean Home Economics Association
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• v.11 no.2
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• pp.166-188
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• 1973

This thesis chiefly to investigate and study about the historic transition of the dress and ornament which is based on the costume of the folk dance. The folk dance is devide into the styled of the Court and common people I. Investigated and studied on the description of Hak-mu (the crane), Ryun-wha-dae (the lotus blossom) and chu-yong dance (a mask drama) which are the typical models among the folk dance on the view of the scale and history of playing. This research materials are made on abstract of Ak-Hak-Gyae-Bum (the pattern of the music which was compiled by Sung-hyun on the King of Sung-Jong of Yi-dynasdty) and selected from the conservation material and playing in the National Classical Music Bureau nowadays. I am sure the understanding the style of common people is to investigate and research the folk dance which is specified and conserved by cultural property control Bureau. Generally Bong-San mask dance is the typical mask drama on the view of the scale and transmitted, which occupies the wide range of the folk dance. So I selected it as the research material. I am interested in the historic origin and the structure of the dress and ormant conserved till the nowadays and so can catch the hidden conception about the colour and concern of religion in the Korean peculiar living consciousness. From this point, the study of the classical folk costume is activated in this part and I hope this poor article will become a small assistance for another study.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.211-219
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• 2021

Chinese Tibetan Opera is a highly comprehensive drama type, which combines the educational aesthetic characteristics of the realism of Western drama and the freehand of Chinese opera, including mask play, square play, ritual play and religious play. Tibetan opera, as a kind of local drama, has high research value, which is determined by its educational aesthetic characteristics. The world's three major dramas include Sanskrit dramas in India, tragic-comedies in ancient Greece and Chinese dramas, which have different forms of expression and educational aesthetic characteristics. Because of the particularity of its birthplace, Tibetan Opera inherits some of the three forms of the above three dramas. Ancient Greek tragedies originate from the sacrificial ritual of the god of wine. In the early ceremonial action performances, the actors were all men and needed to wear masks to perform. In Tibetan opera, men also play a role in masks, which are originated from the folk totem dance and religious pantomime music and dance. Due to the long history of Indian Sanskrit drama, except for the relevant records in dance theory, the specific performance form can not be verified. However, according to the relevant records in dance theory, the three characters "Wenba", "Jialu" and "Lamu" in the opening play of Tibetan opera are similar to the "concept character play" in Sanskrit opera. Tibetan Opera is a very important part of traditional Chinese opera, which inherits the educational aesthetic characteristics of Chinese opera.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.22 no.3
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• pp.381-389
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• 2021

Maogusi dance is an ancient ritual dance of the Tujia, a Chinese ethnic minority living in the remote region of the western Hunan Province of China. With characters, dialogues, simple story plots and unique performance procedures, it expresses ancient people's devout worship of nature, totems, ancestors, and reproduction in the uncivilized age. With the advancement of human civilization and the opening to the outside world, many dances of the ethnic minority gradually have faded out, while the Maogusi dance is still popular among the Tujia people and its spiritual symbols have been passed on through the generations. It is recognized by experts in dance and drama circles as the original source of Chinese dance and drama. From the perspectives of philosophy, religion, anthropology and folklore, this paper tries to remove the mysterious veil covering the Maogusi dance of the Tujia to explain how its ancient spiritual symbols have survived and why the original ecological consciousness has been preserved. These aims would help in understanding the deep connotation of this ancient Chinese art with its long history and profound culture.

• (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.

• Proceedings of the Korea Society of Costume Conference
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• 2003.10a
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• pp.33-33
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• 2003

Lamaism is a Mahayana with strong shaman characteristics in Tibet and Mongolia. It was established through settlement of Esoteric Buddhism, based on Indian Buddhism, transferred to Tibet, mixed with a traditional Tibetan religion Bon which emphasizes shamanism, conducts Tantric and shaman rituals. One of the rituals, Tsam, is a dance drama for protection of Buddhism and enlightenment of the followers in which the monks perform in mask.

• Journal of the Korean Society of Costume
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• v.67 no.1
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• pp.1-21
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• 2017

The Korean folk drama is one of the traditional art performances of Korean folklore, and it is usually characterized by mask dances. An investigation on the costume of Korean folk drama is of great historical significance because they present the variety of typical costume according to the characters. The Sandae-Nori drama of Seoul Gyeong-gi province which was designated as im- portant culture property, has the closest form to general Korean folk costume. The usual characters have their typical costume and reflect the costume of the latter Choson Dynasty period. The costumes are used as a tool of the drama to indicate the character, and the impression of the dance. The costume of the Korean folk drama is made to indicate the character because it is for the play. What is more, the costume of the Sandae-Nori drama of Seoul Gyeong-gi province shows the general aspect of folk costume of the world, which remains as the symbol of the traditional culture and shows more decoration and visibility.

• (The) Research of the performance art and culture
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• no.33
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• pp.165-193
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• 2016

배구자는 1920~30년대 조선에서 큰 인기를 확보한 무용수이자 연극인이었다. 그녀는 배구자악극단을 창립하여 조선과 해외(일본)를 오가면서 공연을 펼쳤고, 대중들은 그녀의 작품을 보기 위해서 극장으로 몰려들었다. 그녀와 그녀의 극단이 인기를 확보하고 있을 무렵, 그러니까 1931년 배구자무용연구소는 '혁신 공연'을 선언하고 일련의 작품을 발표했다. 당시 공연 작품 중에는 가무극 <파계>가 포함되어 있었는데, 다행히 <파계>는 공연 대본으로 기록되어 현재까지 전해질 수 있었다. 남아 있는 가무극 <파계>를 통해, 배구자무용연구소(나아가서는 '배구자악극단')의 공연 전략과 레퍼토리의 실체를 파악할 수 있을 것으로 기대된다. 조선 근대연극(사)의 주요한 축을 담당한 배구자악극단에 대한 연구는, 일제강점기 조선의 대중극의 다양한 갈래와 그 특성에 대한 이해를 제고할 것으로 전망된다.