• The Journal of the Korea Contents Association
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• v.12 no.1
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• pp.265-274
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• 2012

This study aims to examine the physical language of dance art's acceptability of the discourse method of story-telling as a narrative discourse system from the view of story-telling of cultural contents. Dance, through the establishment of relationship between dancers and stage art, can form a discourse system with various literary devices including figures of speech, metaphors, and symbols. The argument over manifestation of dance's narrative components in the concept of story-telling is shown as follows; the background as an object can offer time and spatial backgrounds through stage art and the dancers' performance elements; and, for the character, the dancer himself can be the first-person-narrator and possibly makes plane personality descriptions. As for the elements of main affairs of dance, the stage art components present the background of primary motif of incident and the dancer's diverse relationships form conflicts through the correlation of solo dance, duet, and group dance. The plot as a process of developing the main affair is led by actant such as the dancer's mime actions, gestures, facial expressions, etc. The element of dance's revealing narration is the dance art itself and the developing structure of narration is the dance language's own grammar. Choreographers should compose persuasive dance texts to convey stories efficiently through character decisions, their actions, stage art's elements that display the time and spatial backgrounds, and the development of plot, as a narrative discourse of dance.

• Cartoon and Animation Studies
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• s.44
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• pp.211-233
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• 2016

Fairy tales starting with the phrase 'Once upon a time' have been told throughout generations to generations. These stories of the past started with the history of mankind, and are constantly recreated under the names of legends, fables and myths. Through understanding the archetypes frequently occurring in legends and story telling techniques used to visualize them, the possibility of better recreation of stories and animations are sought. The purpose of this study is to analyze how the original form of archetypical Jeju epic dance lyrics are adjusted accordingly to meet the author's intention as it transforms into the modern animation 'Oneuli' By this comparative analysis, the utilization of archetypes and mythic motifs in the creation of animation are expected to enhance the interactions with the audiences beyond the border and age.

• (The) Research of the performance art and culture
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• no.38
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• pp.297-347
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• 2019

Jie Jie Hao Yin 『절절호음(節節好音)』 is a script collection produced during the Qianlong's ruling Period which had one of the most flourished period of Qing Dynasty's Palace Drama. This script collection is consisted of 86 scripts of 6 Festival Court Plays: New year's day (元旦), Lantern festival(上元), Yanjiu festival(燕九), Snow appreciation(賞雪), Day of Kitchen god worshipping(祀竈), New year's eve(除夕). These scripts are effective records to study the New Year's Eve Drama of Qianlong Period. Jie Jie Hao Yin carry out the performances not only through Kunqiang (崑腔), and Yiyang Tune (弋腔), but also through various types of entertaining performances such as dance, masque play, puppet show, and story telling. Most of the songs were sung by various gods praising the era of peace as the holiday approaches. In the contents of revealing the luck to be brought by the holidays, it sought for the colorful transformations of stages through adding humoristique short stories or various feast genres in between the performance. It also tries to seek for diversities of stages through active application of acrobatics. It also portrays folk customs from BaiYunGuan's temple fair, Yanjiu Festival in YanBin, the Lantern Fair of Lantern Festival, and various activities of wet markets from New Year's Eve from diverse points of views. Especially through various shows and Chinese folk-art forms, the popular folk activities and entertainments near Beijing in the beginning era of Qing Dynasty can be observed. Jie Jie Hao Yin is a very important resource to look at the popular art activities of Beijing during Qianlong Period, and how the Palace culture accepted the folk cultures and applied to its own advancements.