• International Journal of Advanced Culture Technology
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• v.11 no.3
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• pp.99-105
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• 2023

This thesis discusses a performer's unpredictability and immediacy as a prerequisite quality and/or ability to facilitate his/her professional identity as a doer on stage. To examine the key principles and approaches, this research focuses on addressing a specific aspect of the performer's transformative experience from those, directors, and practitioners' concepts that inform and enhance the performer's passive readiness on stage. To be precise, this research attempt to interrogate and articulate the place and role of a performer's internal readiness and/or that of inner looking. The performer's inner intensity as seed of action signifies that his/her body is being in a state of listening to every tiny moment with his/her heightened awareness which in turn lead the performer's body to meet the demands of theatre, the whole-body engagement. Here, this thesis argues that the key principles of acting/training underlies the importance of a performer's ethical attitude and at the same time his/her responsibility for what the performer's choices and experiences within the performative involvement, that is, a process of preparation, are not technical matter but rather, the concepts, and/or approaches from those theatre artists' practical assumptions highlight a process of thorough encountering and/or listening to his/her body. Inhabiting and/or obtaining the principles through the performer's body means being free from his/her unnecessary trait(s) which in turn initiate and then move the whole body according to what is happening in the series of moment(s) on stage. What is more, such an appropriate psychophysical order reminds us of the significance of the nature of human/performer's body, namely, to being in a state of one's 'own' body as oneness. From this perspective, this thesis further argues that the performer's body necessarily need to be affected and/or triggered in a sense of responding to the given circumstance where the performer is working on in the here and now.

• (The) Research of the performance art and culture
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• no.39
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• pp.133-165
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• 2019

This paper tried an approach of oral literature as the research subject of Soeburi song in Ulsan. First, UlsanSoeburi song is meaningful as materials collected in Ulsan such as Hansil, Dodoekgol, Dudong and Byeongueong. In addition, it is related to regional identity as song native to Ulsan, which has prototype and archetype. And it shows that Ulsan is the city as well as hometown of Soeburi(meaning ' iron manufacture'). The characteristics of lyrics are different between Hansil Soeburi song and Dodeokgol Soeburi song. Jeiman Choi is considered as a good oral literature poet, because he is a performer who is faithful in official structural principal and in original lyrics(archetype) of Soeburi song. Therefore, SoeburiBulmei song of Jeiman Choi signifies aesthetic meaning, having lyrics which make to feel labor's purity and sacred and melody which overcomes labor's difficulty through united action. On the other hand, SoeburiBulmei song of Dalo Kim in Doseokgol shows that he is a extemporaneous performer even though he performs based on official structural principal. In this paper, transmission and changes of UlsanSoeburi song are divided into basic type, frequent shift type and overall type. 'Basic type' originates from Jeiman Choi's Soeburi song in Hansil. 'Frequent shift type' was created by combining SoeburiBulmei song of Dalo Kim in Doseokgol and SoeburiGeumjul song in Ulsan. 'Overall type' is current Soeburi song, which was created by adding Bulmei song for lulling a baby in Byeongueong near Dalcheon region and Seoknyanggan(smithy) Bulmei song. UlsanSoeburi song is being passed down continuously, strengthening the identity as a representative folk song in Ulsan through endless process of transmission and changes.

• Journal of the Korean Society of Costume
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• v.55 no.7 s.98
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• pp.62-75
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• 2005

This study is focused on main performers' stage costumes in the 'Swan Lake', a masterpiece of classical ballet, which Is newly represented by Matthew Bourne, a choreographer. The objectives of the study is to help understand a trend of costume in modern public performance and art. First, this paper is attempted to describe the concept and the elements of ballet costume, secondly, to consider the performance generally, and finally to analyze main performers stage costumes. This study was performed by two processes; The first was to visit theaters to view the performances in person: the classical ballet by the Bolshoi Theater Ballet, the performance by Korea national ballet academy and the Matthew Bonne's modernly redefined ballet. The second was to review the regarding literatures and DVD. There are two apparent characteristics of main performers' stage costumes in modern-style ballet compared with classic-style ballet. First, there is an approach to gender identity; the character of swan with the classic tutu that has been the culmination of femininity in the classic-style ballet, used to be represented in an established idea on ballet costume, is now substituted by a creative idea, male ballerina and trouser-style ballet costume. Second, there is an approach to breaking the convention on the purpose of emphasizing popularity arousing real sympathy and art value. Also, modern-style ballet introduces bare body and ffot rather than tutu and toe-shoes, and adapts items from casual outfit fitted in earh performer's character with a present-day life.

• Journal of the Korean Society of Costume
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• v.54 no.3
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• pp.145-158
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• 2004

In modern art, body appears as artistic performer, material or producer. and is expressed as' social environment body' which is changed in the relationship with its society and culture. The correlation between body and clothing image appears in 'body as expression object' which directly borrows human body or sets up a section of human body, 'body as medium' in which clothing substitutes body, and 'body as image' in which image of body reappears along with clothing. The results of analysis are as follows : First, 'image of expansion and exaggeration' to expand the influence of clothing thereby disclosing illusion of material civilization prevalent in our society, and make metaphor of dwarfish human's lurking fear by transforming and exaggerating human body. Second, 'image of restriction and suppression' to express the loss of humanity, power and restriction of modern society with fixing and cruelty of body image through clothing which disregard body function. Third, 'image of open and fluidity to criticize the extinction of values of human existence and standardized figure of our society by reducing three-dimensional clothing and body to untypical form or introducing the image of absent of human body to clothing. Fourth, 'image of reversion and paradox' to express practical clothing object with unwearable material, or cause confusion of sex and identity by expressing dual aspects of body at the same time. In this study, which is focused on correlation between body and clothing and the meaning of them, I realized that, even though artistic clothing expressed image of distortion and deformation of human existence as essential subject of body, they, in most contents, were used as medium of communication to rediscover human dignity and identity, and consisted of a series of metaphoric network of meanings satirizing aspects of our society.

• Journal of Popular Narrative
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• v.27 no.2
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• pp.107-142
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• 2021

Emergence of new media platform had changed relationship between the broadcaster and the viewer, which used to form 'performer-audience' structure. This research has focused on the transition of 'streamer-viewer' role in single-media broadcasting, such as Youtube or Twitch, and identify how they progress group storytelling as a team. Walter Benjam and Leslie Marmon Silko's notion of 'story and storyteller' and Erving Goffman's 'social role theory' was used to define participants' role in new media broadcasting. channel, on Youtube, was selected and analyzed as example case. The domain of 'front stage' was broadened in recorded contents comparing to live streaming. The audience of live streaming is included to the front stage during the expansion. The role of streamer, game participant, and live stream contents viewer is also adjusted during the change, which leads to group-creation of the contents. Streamer plays a role of main-storyteller and suggest identity of the community. Game participants work as sub-storyteller, filling in the blank space in game storytelling and making it sophisticated. They also perform based on community's identity, which streamer has built in advance. Lastly, live steam viewers are intermittent sub-storyteller, which seldom add up the narrative. Though, their main role is to preserve identity of game broadcasting community by reacting according to community's identity. As a result, the game broadcasting narrative is developed by combining and adding up pieces of story made in different level and role of participants. The research redefine the role of viewer and storytelling method in new media, especially in single-person broadcasting. Considering the rapid shift in recent media and contents, a new approach to the streamer-veiwer role and group storytelling of this research can be one of the new method to analyze contents produced in new media, such as Youtube.

• (The) Research of the performance art and culture
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• no.35
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• pp.175-202
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• 2017

In this article, I focused on the identity of the Japanese magician, Tenkatsu(天勝), who appeared in Exhibition of Joseon, 1915, and the social gaze and reverberation of them. I would like to see how Tenkatsu group appeared, how it was active, and how it was utilized. Because It was a big stimulus for traditional performing artists. 'Ma-sul' was a new word, taking the place of 'Hwan-sul(幻術)' or 'Hwan-hee'(幻?) for a term of english 'Magic'. In the various articles published during the Japanese colonial period, we can find the performers of the contemporary magic and the Korean artists who tried to make them nationalized. In the mid-1920s, a magician of Korean origin appeared. Kim Mun-phil(김문필), Park Chang-sun(박창순), Kim Wan-shil(김완실) were them. They had experience of studying abroad, such as Russia, and were also helped by religion, the Chondo-kyo. They attracted popularity while touring around the country. Incidents of social problems often arise by linking magic to a form of fraud, though. But the appearance of a Korean magician confirms the existence of a performer who actively engages in new performances.

• The Southeast Asian review
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• v.26 no.3
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• pp.1-50
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• 2016

This paper aims to investigate the cultural conflicts and characteristics of anti-Korean Wave discourse taken placed among Southeast Asian countries. To do this, it takes Vietnam and Indonesia as the study cases, which have been showing a trend of anti-Korean Wave discourse as well as high popularity of Hallyu. As research methods, the paper analyzes both on-line discourses of anti-Korean Wave and the email audience interviews from both countries. The results show some significant differences between the two countries as well as the similarity that Anti-Korean Wave discourses have been actively produced and disseminated through on-line media. As for Indonesia, the Anti-Korean Wave discourse pivots on the elements clashing between Indonesia's religion and cultural values and Korean consuming culture. According to the Anti-Korean Wave discourse, K-pop contents and entertainers are criticized for damaging the society's morals and cultural identities based on Islamic rules and values. Thus, the sentiment of the Anti-Korean Wave is likely to lead to the cultural nationalism for the sake of their cultural identity. As for Vietnam, anti-Korean Wave discourse mainly consists of issues on enthusiastic K-pop fans' anti-social behaviors and generational conflicts which are presumed attributed as the chief factor of the Anti-Korean Wave. In the Vietnamese discourse, social elites and adults treat the enthusiastic K-pop fans as those who are in need of educational care or psychological therapy. Unlike the Indonesian case, anti-Korean Wave discourse in Vietnam criticized the K-pop and the performer's competence for being cheap sexy and incompetence. They also denounce Korean dramas for their trite, typical story lines, use of excessive emotion, and unrealistic nature. However, the two country's interview participants have in common both acknowledged that rather than considering the Anti-Korean Wave as an issue that needs to be resolved it should be embraced as a natural cultural phenomenon.

• (The) Research of the performance art and culture
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• no.41
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• pp.353-380
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• 2020

Samul nori/Pungmul-gut is the symbol of ethnic identity for the Koreans abroad. It is the representative diaspora musical genre which is performed many cultural events held by Koreans. It is, at the same time, a global music which is appreciated by not only the Koreans but also the foreigners. Many musical communities in various countries exhibit the cultural migration through the discourse of 'tradition/variation' and 'authenticity/hybridity' in the course of the acculturation and enculturation of samul nori/pungmul-gut. The pungmul-pae 'Bichoe June' active in Toronto, Canada was organized by a foreign performer. For the foreigners pungmul-gut is easy to access as a genre of world music. As a percussion ensemble, it is easy to learn for the foreigners. The pungmul-pae 'Bichoe June' is a 'music community' consist of the Koreans and foreigners. The band tries to preserve the traditionality and authenticity of the Korean music. There is no variation or hybridity in its music since the member still learns the authentic music through various available textbooks and internet sites. Through the participation of the Koreans and foreigners, the band stimulates the globalzation of the pungmul-gut. The enculturation of the pungmul-gut is exhibited in two performances held by the band. One was host by the Canadian progressive group and the other was by the Korean conservative community. The former understood the nature of pungmul-gut as the music of the common people. The latter, however, accepted the music as the representative traditional music but was not easy to enjoy the 'noisy' music. In other words, the positive/negative acceptance of the pungmul-gut depends of the ideological nature of the listeners rather than the ethnical nature.