• Research in Community and Public Health Nursing
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• v.17 no.2
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• pp.223-234
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• 2006

Purpose: This study was conducted to identify the effects of sexual health education guided by dramaturgical interaction on condom attitudes and intention to use a condom among undergraduate students. Method: Seventy-one female and 23 male volunteers at a university in D metropolitan city participated in the study with an one group pretest-posttest design. The intervention was implemented for five weeks in October 2003 with a short course including group works to encourage university students' social skills In condom use negotiations and condom purchase by using a dramaturgical interaction model. A confidential questionnaire was administered at baseline and post-intervention, and changes in condom attitudes and intention to use a condom were measured. Result: The self-report of female subjects showed significant positive changes in two out of the five condom attitudes domains, such assailability and effectiveness(p<.001) embarrassment about negotiation and use(p<.05), while male subjects showed no change in each of the condom attitudes domains. No significant difference was found in intention to use a condom after the intervention. Conclusion: Sexual health education planned to encourage social skills in condom use by using the dramaturgical interaction model was found to have positive effects on female university students' condom attitudes. A more rigorously designed trial is needed to develop a comprehensive sexual health promotion programme that targets both cognitive and behavioral changes among sexually active Young adults within community.

• Women's Health Nursing
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• v.9 no.4
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• pp.351-358
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• 2003

Purpose: The aim of this study was to examine the effect of Desexualization Care guided by dramaturgical interaction on women's embarrassment during cervical cancer screening. Method: This study was carried out in a nonequivalent control group non-synchronized post-test only design. 62 women who had cervical cancer screening were' conveniently recruited from a university hospital health promotion center. Embarrassment was measured under four distinctive sub-dimensions by the method of self-reported questionnaire and blood pressure and pulse rates monitoring. The data of control group had a conventional pap smear were collected in advance and then those of experimental group were gathered after completing data collection in the control group. Women in experimental group were provided with a newly developed cervical cancer screening programme in which interdisciplinary team conducted dramaturgical interaction. Result: There was no significant difference in the scores of VAS between the two groups. The score of physiological response of Embarrassment Measurement Scale was significantly lower in experimental group than in the control group (p <.05), while no significant difference was found in cognitive-emotional, non-verbal and verbal behavioral responses between the two groups. There was also no significant difference in blood pressure and pulse rates between the two groups during cervical s creening. Conclus ion: Desexualization Care guided by dramaturgical interaction during cervical screening was found to have positive effect on physiological response of women's embarrassment. Further research for identifying other main variables which might have influenced on women's embarrassment is needed.

• Journal of the Korean Society of Costume
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• v.18
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• pp.351-359
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• 1992

The purpose of this study is to analyze the costume in $\ulcorner$The Goddess Abides$\lrcorner$ of Pearl S. Buck by applying "Dramaturgical Analysis" of Erving Goffman. The frame of analysis is the dramaturgical conception of Goffman that he expressed in $\ulcorner$The Presentation of self in Everyday Life (1959)$\lrcorner$. Among the conception, I analyzed by applying 'performance', 'technique of impression management', 'region and region behavior' which can be used for studying and costume behavior. The following is the summary of my study. First, the performance means the performer's behavior and the procedure of impression management if face to fact interaction, which includes personal front and setting. Setting is mainly a house on the Mt. in Vermont. The time is Winter. The personal front includes appearance and manner. actors and audiences form impression through persional front. And Istudied the performance of the actors (or actress), Edith, Jared, Edmond, Edwin, Amelia, June. As for technique of impression management, I cold observe that a varieth of that were being used, such as the most general one that Edith wants to look beautiful by making god appearance, or she sometimes try not to look beautiful And when Edith meets Jared, sometimes she changed her clothes, but other times she doesn't do that. As for region and region behavior, there appears the distinction of region and a lot of expressions about clothes related to the distinction. I could observe the expressions showing the movement from front to back and from back to front. Especially I could observe the behaviors that can be occured only in back region in everyday life, that is bathing, changing clothes, making up, checking their appearance before the mirror. Like above when I analyzed $\ulcorner$The Goddess Abides$\lrcorner$ of Pearl S. Buck by Goffman's Dramaturgical analysis, I could find out that the theory was very useful to the analysis of the costume behaviors of the characters.

• (The) Research of the performance art and culture
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• no.32
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• pp.549-594
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• 2016

This research focuses on 'dramaturgical' performance among all the acts of a director who constructs an artistic structure. This is, specifically, the dramaturgical acts that a director comes to perform in the process of dramatizing a novel. This paper aims to suggest a new kind of approach for productive interaction between drama theory and practice, not only by documenting the process of creation but also by moulding theoretical basis on acts of a director. As you all know, creative acts in practice so far have rarely been considered as subject and purpose of academic study. Even some lucky plays and directors had to settle for fragmentary review. That's mainly because Korean theatrical circles confine the way of recording the whole process of drama in practice only to a piecemeal review of performance. As a result, there have been very few cases of observing comtemporary plays under the historical background of drama. In this regard, this paper desires to raise a question, 'is productive interaction between drama theory and creative practice possible?' and to find the answer. If what is described in this paper can have worth beyond a mere record of creative acts, it may establish theoretical grounds on interpreting the play stage of this era by reading, in the contexts of drama history, a director's dramaturgical performing acts to dramatize a novel. The researcher of this paper, as a director of a theater troupe like a human and artistic community, adapted "Crime and Punishment" by Dostoevsky into four plays. They are , , , , and completed in 2009, 2011, 2012, and 2014, respectively as an independent theatric work having no connections to each other in story. Not only because the four plays share the same novel as its origin but also because an identical system is applied to dramatization of the novel, it gives an opportunity to focus on and perceive the role of the director. During the process of dramatiztion, the director, the researcher of this paper, carried all the duties, such as selecting a text, approaching the text theoretically and academically, adapting it for drama, picking out appropriate episodes. This paper defines all these acts as dramaturgical performing acts. In this sense, this paper can also be seen as a documentary of 'acts' performed during the process of dramatization.