• Journal of the Korean Institute of Landscape Architecture
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• v.30 no.4
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• pp.74-81
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• 2002

Ihis landscape design was proposed for the Remodeling for the National Theater of Korea Competition. Today, the National Theater of Korea, located in Jangchoongfong, Joong-gu, Seoul, asks plans for renovation. The landscape design for the remodeling of the theater is conducted as part of comprehensive programs for its renovation. The Government sought design proposals through a design competition in April, 2002. The authors proposed a landscape design for remodeling the National Theater of Korea and won first place in the competition. The landscape design covers the following a survey of the present status, a site analysis, a schematic design, and design, development. In the authors'design, heavens, humans, earth and nature are symbolically expressed within the site. The outdoor spaces of the National Theater of Korea are organically composed of the following low spaces : 1) a field of creation; 2) a field of recreation; 3) a field of meeting; and 4) a field of contemplation. The field of creation consists of a main entrance, spaces for public performance and plays, spaces with symbolic water features, and resting areas. The field of recreation is composed of various exhibition spaces. The field of meeting consists of traditional Korean-style gardens and an outdoor cafeteria. The field of contemplation features lawns, grasses and trees, and provides an area for pedestrian strolling. The outdoor spaces of the National Theater of Korea would produce an atmosphere suited to a cultural and artistic place. In the spaces, people would perceive a unique sense of place through various types of fountains, pergolas, columns, walls, light poles and bollards. An example of the true meaning of a cultural space and a resting place is provided in these spaces. The renovated National Theater of Korea would be a new type of theater with regional context, cultural meaning, spatial identity, various amenities with symbolic images, function and beauty.

• The Journal of the Korea Contents Association
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• v.19 no.11
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• pp.507-515
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• 2019

The positive effects of 'robot actor' born in the age of artificial intelligence on the characteristics of theater (comprehensive, liveness, duality, planning) is due to the collaboration with 'robot' engineers, which increases the comprehensive. It is possible to respond to it, so that various reaction are maintained in every performance, and enhanced illusion can be provided in 'robot' material works in which 'robot actor' plays the role of 'robot'. However, the power focused on the director can reduce the comprehensiceness, the synthesis is reduced, and the 'robot actor' cannot perform the sweat or breath of 'human actor'. In itself, duality is incomplete. In addition, there is a high risk that the improvisation within the scope of planning is likely to occur as a sudden reaction, which may limit the postponement of the 'human actor'. Based on these findings, 'philosophy', 'science' and 'art' can predict the development of artificial intelligence side by side. It is considered necessary to study to redefine the direction and identity of arts and theater that should be moved forward.

• Journal of Digital Contents Society
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• v.8 no.3
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• pp.411-418
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• 2007

Digital cinema is an important contents provider and powerful contents as itself in the paradigm of media convergence. Digital cinema extend its screening platforms to the public television, CATV, internet and mobile channels beyond a theater. This study derives peculiar features of digital cinema that first screening on these platforms with case study. Furthermore, this study investigates features of digital cinema according to the multiplicity of platforms and a method of the utilization of digital cinema in the rapidly changing situation.

• Journal of Korean Society of Archives and Records Management
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• v.23 no.4
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• pp.1-24
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• 2023

At present, domestic archives within the realm of performing arts predominantly focus on recording through videos, yet they often lack comprehensive documentation of crucial production processes and content services. Recognizing the contemporary significance of archival content services, this study analyzes the archival content within the national performing arts archives websites of the United Kingdom and the United States, serving as international benchmarks. The findings extrapolate insights and implications to propose enhancements for the Museum of Performing Arts in the National Theater of Korea. The analysis focused mainly on the missions and visions on the websites, examining 107 contents from the UK National Theater, 27 from the United States, and 9 from Korea. The suggested improvements encompass clarifying target users and execution tasks in the mission and vision statements, fostering expert collaborations, incorporating preview features, curating content with a single theme, and organizing a comprehensive list on the National Theater's YouTube channel.

• Cartoon and Animation Studies
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• s.39
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• pp.133-156
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• 2015

With development of media and technology animation are seeking a variety of a genre fusion. I would like to propose a new animation screening method using a projection mapping and a popup book. I redesigned the existing method of watching the animation to a new experience by projecting the image on a three-dimensional structure instead a flat screen. This screening method was inspired by preceded works which were made by the fusion of a projection mapping and a popup book. Through analysis of them, I found the merits, shortcomings and clarified the difference of each works. I called this method "Hybrid Animation Theater" because it is fused the various areas - Theater, Projection mapping, Pop-up book, Animation, and Installations, etc. also studied for its architectural features and design. After I designed a prototype to demonstrate the possibilities, the limitations and shortcomings, I could suggest next research directions.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.295-306
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• 2020

In 21st century, theater evolves into a complex aspects. Advanced visual media, such as photography and movies has brought crisis to theater's position, and that crisis led contemporary theater seek for distinctive strategy by repeatedly pondering over the format in which it can be more competitive than other arts. And postdramatic theatre is one of distinctive characteristics of this trend in contemporary theater. Among these flows, The aim of thesis is to study the phenomenon of postdramatic theatre and its practical application in the recently performed (2019) by Theater Group "Mul-Kyul". (2019) puts the body at the front, one of the features of the postdramatic theatre. When creating stage, or developing narratives, the process of characterization, or even highlighting dramatic themes, non-verbal focused theatrical expressions hold a dominant position over verbal expressions. Also, by combining various non-verbal elements like object, with body language, it builds a complex Scenography and creates a metaphorical expression. In this regards, I would like to classify the postdramatic theatre phenomenon shown in the (2019) into 'Disorganization of text through Scenography' and 'Collage of Body Language and Object' and consider its characteristics and meanings.

• (The) Research of the performance art and culture
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• no.32
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• pp.651-700
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• 2016

The keyword of contemporary art in 21st is audience participation. London has emphasized the importance of audience participation since 2000. The National Theater of London is trying a new method, which is live performance to search new audiences. Also, they are trying to cross the boundaries between 'stage' and 'spectator'. This leads the other theaters to search new audiences and try new genre of performance. Therefore, they establish a new form of performance, which is that audience actively moves and find a new story in a theater. For example, "environmental theater" is the one. This theater escapes from the traditional stage, but it is based on "site-specific performance." Lots of new forms of theater have emerged. In this study, I focused on one of these new forms of theater, which is "Punchdrunk." "Punchdrunk" was founded by few students graduated from London University's Laban Center in 1999. They started at an empty stage in small school with only three audiences. 7 years after, it became one of major theaters in London. 10 years after, it showed their performances in the United state. Since then, their performances in New York have never been stopped. More strikingly, for last decades, this theater has been always full. In this study, I reasoned that the key of "Punchdrunk" success is audience participation. Therefore, I investigated the features of Punchdrunk theater and how they engage their audience in this performance. In this study, I focused on one of their performances, . Also, I categorized the audiences in three different ways: narrative visitor, walking visitor, and engaging visitor with mask. Three-part transition of Disney Theme Park from Louis Marin was applied to study "narrative visitor." For "walking visitor", Normadism from Gilles Deleuze was applied. For "engaging visitor with mask", Voyeurism was applied.

• Journal of architectural history
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• v.28 no.2
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• pp.65-76
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• 2019

Modern Joseon Architecture is North Korea's unique building style that interprets Korean traditional architecture in a modern way, and its most distinctive design feature is the Paljak roof that decorates the upper part of the buildings. This paper argues that continuous attempts at characterizing the nature of traditional Korean architecture in the late 1950s and early 1960s developed the theoretical rationale for the exclusive use of the Paljak roof in Modern Joseon Architecture. It also argues that the construction of the Pyongyang Grand Theater and the Okryu Restaurant during this period became a decisive moment for the formalization of the Paljak roof. The double roof rafters and gables and the "cheerful yet solemn" roofline were considered as main characteristic features of the Korean roof and the Paljak roof perfectly fits this description. Particularly, in North Korean society where Kim Il Sung became idolized as an impersonalized deity, an anecdote in which Kim Il Sung fixed a prominent gabled roof in the Pyongyang Grand Theater into a Paljak roof has allowed for the roof to gain an exclusive status. Hence, almost all Modern Joseon Architecture since the 1960s accepted the Paljak roof's monopoly position, rather than experimenting with other traditional roof types.

• Cross-Cultural Studies
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• v.40
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• pp.239-264
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• 2015

In the early 20th century, Japan built theaters to take possession of colonial culture while establishing the Imperial University, libraries, and museums to accumulate and spread the knowledge of "imperial" Japan. Many different genres made a hit in theaters including theatrical troupes, theatrical companies, and motion pictures. One of the various features of expositions was "spectacles" or unusual events. They were integrated with a national festival in celebration of "5th anniversary of political commencement." In 1915, the longest hit series in Keijo (Seoul) was the dance performance by professional Japanese beauties and entertainers, whose songs delivered the legitimacy of governance. This study focused on the performance in the space of "cultural" spread called theaters, thus examining the "imperial" cultural waves they were in charge of. The study also focused on the tensional relations of Hierarchie along those cultural borders. The performance at the theater Engeikan(演芸館) in 1915 was especially an epoch-making event in the Japanese theatrical community of Keijo (Seoul): first, it marked the emergence of large-scale performance hall called Engeikan(演芸館); secondly, the performance kept its ongoing, stable streak for about 50 days; and it led to the appearance of leading troupes including Geijutuza(芸術座), which put on a show in Keijo (Seoul) in November, 1915. The study examined the issues of theater Engeikan(演芸館) performance in 1915 involving the art company, performance genre, and audience composition, showed that there was the coexistence of entertainment and governance through cultural ruling while securing amusement and entertainment, and found it was accompanied by the organized operation of "Keijo Sponsorship Council（京城協贊會）" which brought together the cultural capabilities of Japanese people living in Joseon. The performance at theater Engeikan(演芸館) in Keijo (Seoul) in 1915 fully reflected the issues involving the tensional relations between different artistic genres, the competing relations between the subjects of performance, and the cultural power.

• Journal of the Korea Society for Simulation
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• v.25 no.2
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• pp.41-49
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• 2016

Counter Fire Operations can be characterized as having a system of systems that key features include situational awareness, command and control systems and highly responsive strike achieved by precision weapons. Current modeling methodology cannot provide an appropriate methodology for a system of systems and utilizes modeling and simulation tools to implement analytic options which can be time consuming and expensive. We explain developing methodology and tools for the effectiveness analysis of the counter fire operations under Network Centric Warfare Environment and suggest how to support a efficient decision making with the methodology and tools. Theater Counter Fire Operations tools consist of Enemy block, ISR block, C2 block and Shooter block. For the convenience of using by domain expert or non simulation expert, it is composed of the environments that each parameter and algorithm easily can be altered by user.