• (The) Research of the performance art and culture
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• no.33
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• pp.59-95
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• 2016

The purpose of this study was to examine the text and musical characteristic of , a changgeuk (a Korean traditional opera), by the National Theater of Korea, which was performed overseas with the title of and recognized its artistic values home and abroad alike, focusing on the process of its rebirth from a lost pansori. A changgeuk was dramatized from a lost pansori into a Korean traditional opera. In the process of rebirth of , the content of latter half, which is the performance of a funeral service for the deceased Byeongangsoe, was deleted, and the contents of Ongnyeo's fight against jangseungs in order to take back Byeongangsoe was newly inserted, thus creating textual changes. In addition, as the title presents, Ongnyeo is no longer a conventional lewd woman, but a subjective and independent female who is fighting against fate, different from its original perspective in which the leading character is Byeongangsoe. All the sounds of a changgeuk were made by the creative technique of traditional Korean songs through various attempts, such as inserting chords between performers in order to present most appropriate songs for the opera, namely proper sounds for the hidden side of the opera. In addition, according to the change of mind of performers or characters, the tone and vocal sound of the song were different. In particular, a changgeuk attempted a variety of techniques in the accompaniment of music, and used many sound buks or diverse genres such as popular music, waltz, classic and folk songs of every province, thus presenting challenging attempts. These attempts made the opera more abundant and helped it to be expressed realistically and dramatically. As above, the contents of a changgeuk were borrowed from classical narrations, but its musical aspects got off the technique of traditional changgeuk, thus attempting various changes and techniques. In this vein, it presented a novel modality of changgeuk equiping with the characteristic of 'reviewing the old and learning the new,' thus proposing the directivity and possibility of changgeuk in the present society.

• Journal of Astronomy and Space Sciences
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• v.28 no.1
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• pp.79-91
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• 2011

Ongnu (Jade Clepsydra; also called Heumgyeonggaknu) is a water clock was made by Jang Yeong-sil in 1438. It is not only an automatic water clock that makes the sound at every hour on the hour by striking bell, drum and gong, but also an astronomical clock that shows the sun's movement over time. Ongnu's power mechanism used is a water-hammering method applied to automatic time-signal device. The appearance of Ongnu is modeled by Gasan (pasted-paper imitation mountain) and Binpungdo (landscape of farming work scene) is drawn at the foot of the mountain. The structure of Ongnu is divided into the top of the mountain, the foot of the mountain and the flatland. There located are sun-movement device, Ongnyeo (jade female immortal; I) and Four gods (shaped of animal-like immortals) at the top of the mountain, Sasin (jack hour) and Musa (warrior) at the foot of the mountain, and Twelve gods, Ongnyeo (II) and Gwanin on the flatland. In this study, we clearly and systematically understood the time-announcing mechanism of each puppet. Also, we showed the working mechanism of the sun-movement device. Finally, we completely established the 3D model of Ongnu based on this study.

• Journal of Astronomy and Space Sciences
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• v.30 no.2
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• pp.113-121
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• 2013

Heumgyeonggaknu is a water-hammering type automatic water clock which was made by Jang Yeong-Sil in 1438. The water clock that is located in Heumgyeonggaknu consists of Suho which is equipped with 2-stage overflow. Constant water wheel power is generated by supplying a fixed amount of water of Suho to Sususang, and this power is transferred to each floor at the same time. The 1st floor rotation wheel of Gasan consists of the operation structure which has the shape of umbrella ribs. The 2nd floor rotation wheel is made so that the 12 hour signal, Gyeong-Jeom signal, and Jujeon constitute a systematic configuration. The 3rd floor rotation wheel is made so that the signal and rotation of Ongnyeo and four gods can be accomplished. Based on the above conceptual design, this paper analyzed the internal signal generation and power transmission of Heumgyeonggaknu.