• BMB Reports
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• 제51권5호
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• pp.236-241
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• 2018

Anoctamin 1 (ANO1) is an anion channel that is activated by changes in cytosolic $Ca^{2+}$ concentration and noxious heat. Although the critical roles of ANO1 have been elucidated in various cell types, the control of its gating mechanisms by $Ca^{2+}$ and heat remain more elusive. To investigate critical amino acid residues for modulation of $Ca^{2+}$ and heat sensing, we constructed a randomized mutant library for ANO1. Among 695 random mutants, reduced $Ca^{2+}$ sensitivity was observed in two mutants (mutant 84 and 87). Consequently, the E143A mutant showed reduced sensitivity to $Ca^{2+}$ but not to high temperatures, whereas the E705V mutant exhibited reduced sensitivity to both $Ca^{2+}$ and noxious heat. These results suggest that the glutamic acids (E) at 143 and 705 residues in ANO1 are critical for modulation of $Ca^{2+}$ and/or heat responses. Furthermore, these findings help to provide a better understanding of the $Ca^{2+}$-mediated activation and heat-sensing mechanism of ANO1.

• 복식
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• 제63권1호
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• pp.42-55
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• 2013

As performing arts including operas are getting popular these days, the importance of stage costumes is strengthened. Stage costume is one of the artistic requisites for opera performance, it plays an important role in describing the play's situation, the director's style and the person's character. Nevertheless the study regarding the opera's costumes is not active, especially the comparative study on the same opera's costumes performed by different opera companies have hardly been made. Therefore this study compared 5 Manon Lescaut opera performances: the Metropolitan Opera(1980), the Flemish Opera(1991), the Metropolitan Opera(2008), the Seoul Metropolitan Opera(2010) and the Vienna State Opera(2010) and made clear the difference between the four. From this study, we can get the following conclusions. First, the Metropolitan Opera's costumes in 1980 act and in 2008 act ascertained Rococo dressing. Because the costume designer for both acts was the same person, the general costume styles of the two acts are similar. Second, as for the Flemish Opera and Seoul Metropolitan Opera, there was a significant drop in fancy details and trimmings in the costumes. But the costumes made strong impressions dues to its color and luminosity contrast. Third, Vienna State Opera costumes had the boldest designs and it reflected modern designs as well. This study is meaningful in that it is based on the comparison study on the same opera stage costumes designed by different directors. Afterward this study is expected to contribute toward study on opera stage costumes and stage costume's development.

• 한국인터넷방송통신학회논문지
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• 제15권2호
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• pp.229-238
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• 2015

본 연구는 SNS를 활용하여 창작뮤지컬 공연을 관람하는 고객들의 경우 중요도-성취도(IPA: Importance Performance Analysis) 분석을 활용하여 창작뮤지컬 인식에 대한 중요도 및 만족도를 알아보고 공연업체의 창작 뮤지컬 인식을 향상시킬 수 있는 방안을 모색하고자 하였다. 즉, 공연기획자들이 점진적으로 신경쓰고 개선해야할 선택속성은 제 II사분면에 위치하여 창작뮤지컬 관람객들이 선택속성에 대해 중요하게 생각하고 있는 반면 이 평가속성에 대한 성취도에서는 낮게 평가된 상태로 향후 시급히 개선해야 하는 속성은 창작뮤지컬의 관람비용(티켓가격), 창작뮤지컬의 내용구성(뮤지컬의 엔딩장면, 기억에 남는 대사가 많음), 창작뮤지컬의 관람비용(공연장의 부대시설 이용요금), 창작뮤지컬의 공연장(공연장의 주차시설)으로 이를 개선하기 위해 지속적인 노력을 해야 한다. 또한, SNS를 활용하지 않고 창작뮤지컬 공연을 선택하는 관람객들의 경우 창작뮤지컬 선택속성(창작뮤지컬의 관람비용), 창작뮤지컬의 무대구성(무대의 음향시설), 창작뮤지컬의 연출(뮤지컬에서 나온 전반적인 음악), 창작뮤지컬의 관람비용(공연장의 부대시설 이용요금), 창작뮤지컬의 공연장(공연장의 주차시설)이라는 선택항목을 개선하기 위해 지속적으로 노력해야 함을 알 수 있다.

• 한국운동역학회지
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• 제25권3호
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• pp.249-256
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• 2015

Objective : The purposes of this study was to perform a kinematical analysis on age and walkway types in elderly women subjects. Method : Forty subjects participated in the experiment (A1 group - age: $67.30{\pm}1.49yrs$, height: $153.81{\pm}4.47cm$, weight: $61.80{\pm}5.24kg$, A2 group - age: $71.70{\pm}1.10yrs$, height: $152.01{\pm}2.84cm$, weight: $59.69{\pm}7.34kg$, A3 group - age: $76.80{\pm}0.98yrs$, height: $150.16{\pm}6.08cm$, weight: $57.27{\pm}6.42kg$, A4 group - age: $81.80{\pm}0.60yrs$, height: $152.18{\pm}4.77cm$, weight: $55.80{\pm}7.78kg$). The study method adopted was the 3D analysis with six cameras. Ground type were classifed as gait pattern on flat, ascent and descent ramp. For the statistical analysis, the SPSS 21.0 was used to perform Repeated measured Two-way ANOVA. Results : In velocity of CM, there was faster movement on flat ground. When it came to the velocity of right toe, there was no significance in early mid-swing of right foot, but A4 was the slowest in late mid-swing of right foot on flat ground. In joint angle in left foot strike, the left hip joint and knee joint were more flexed in descent ramp, In addition left and right ankle joints were more plantarflexed in descent ramp, and left ankle joint was more plantarflexed in the over 75 yrs age groups. Conclusion : The higher age group were more flexed in lower body joints during descent ramp.

• 한국운동역학회지
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• 제23권4호
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• pp.357-367
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• 2013

The purposes of this study were investigated physical compensation for gait on induced knee stiffness in normal subjects. Ten subjects were participated in the experiment(age: $26.0{\pm}6.3$ yrs, height: $175.5{\pm}5.3$ cm, weight: $69.1{\pm}6.1$ kg). The study method adopted 3D analysis with five cameras and ground reaction force with two force-plate. Induced knee stiffness level were classified as gait pattern on ROM of knee(free level, $30^{\circ}$ restriction level, fix level). The results were as follows; In angular displacement of hip joint, left hip joint was the more extended in mid-stance on induced right knee stiffness. In angular displacement of knee joint, there was no physical compensation on induced right knee stiffness, but free knee level gait was more flexed in swing phase of right knee joint. In angular displacement of ankle joint, right ankle joint was the more dorsiflexed on induced right knee stiffness, and $30^{\circ}$ restriction level and fix level gait were less plantarflexed in TO2. In trunk tilt, free and $30^{\circ}$ restriction level gait was more backward tilt on induced right knee stiffness. In ROM of each joint, right knee joint was more larger and trunk tilt was more lower on induced right knee stiffness. In GRF, Fx was more bigger lateral force in free and $30^{\circ}$ restriction level gait, and was more bigger medial force in fix level gait. Fy was more bigger propulsion force in free level gait, and was was more bigger braking force in $30^{\circ}$ restriction level gait. Left braking force in $30^{\circ}$ restriction level gait was more bigger. Fz was no significant.

• 한국환경과학회지
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• 제12권2호
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• pp.195-199
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• 2003

This landscape design is a work for which we selected the square of Sejong Center for the Performing Arts as a object area, drew inhuman factors, and tried to restore them to human environment. This plan assumes that excessive urban environment results from disorder and man can keep it in order and restore it to human environment through the progressive process of speculation. In this plan, we included the least parking space and nearby roads in the object area to maximize the location feature and the symbol of cultural space, and planned that the object area may play its role of open space in the downtown. To grant the symbol of culture space, we established the progressive process of speculation and the relationship of mu, heaven and earth, and culture, geometrically diagrammatized it, combined the circular and rectangular lines derived from it, and suggested a plan. Urban environment will continue to change in the future. However, as long as it is not ensured that the change will progress upward, city would be far from human environment anyhow. Effects to display inhuman space overlooked in the downtown and restore it to human environment for citizen and location for man, should continue.

• 복식
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• 제62권4호
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• pp.1-14
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• 2012

Ever since the year 2000, Korea's musical markets has invited famous overseas license performances and have therefore cooperated with staffs working overseas in regards to stage costumes. This study aims to suggest the methodology of the stage costume making process according to the present advanced production system of Korea's musical market. The researcher participated in the stage costume making work of 'Chicago' as a costume supervisor. It took place at the Opera House of Seongnam Art Center from January 10, 2010 to February 28, 2010. Furthermore, there was significance in reinforcing academic values and implementing practical making process of stage-costumes based on the actual field work. The method of this research was carried out through a theoretical research and a case study that focused on empirical research. As for the research scope, it was limited to the actual stage-costumes that the researcher fully engaged with as a costume supervisor of the musical 'Chicago.' The results of this study were as follows. The stage costume making process of the musical 'Chicago' was categorized according to the classification of production system in the performance. For pre-production, it was divided according to the information of the actor and the analysis of the bible. Rehearsal period was divided according to the product clothes and fitting. Production week & preview were divided according to the changeover of clothes and the arrangement of dressers. The Run was divided according to the inspection of the situation concerning clothes in general during the performance. Post-Production Period was divided according to the collection of clothes and the implemented database. This study eventually suggested appropriate stage-costume making processes for the costumes making environment according to the expansion of overseas license musical market. However, it has a limitation of the research scope to the musical 'Chicago.' The creative performances of the domestic version are planned in diverse forms and come to abroad animate by the Korean Wave. Therefore, the field of stage-costume is necessary for the establishment of practical schemes of the system and copyright in accordance with the environment.

• 복식
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• 제59권7호
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• pp.86-99
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• 2009

The audience of the performing arts enacted on the stage appreciate acting of the characters in a play to understand its plot, identify with the characters, and comprehend the message and subject matters of the play. Stage make-up in particular should assist audience in comprehending the story without overpowering or distracting the script. Stage make-up is a crucial means to visualize occupation, class, personality, and age of the characters. Thus it is an essential means in producing a high quality performance. The aim of the study is to examine character-emphasis make-up for a play by reviewing theories on the concepts and methods of the stage make-up. The methodology of the study was to analyze character make-up of the adopted play The Madwoman of Chaillot (La Folle de Chaillot) translated from the original French, as a case study. The technique and features of the character make-up of the play were examined, and functions of each factor of the character make-up depending on a role were also examined. The results of the study are as follows. The stage make-up for creating and expressing a distinctive personality of the characters in a play must integrate environmental factors external to a performance such as lighting and scale of a venue. Moreover the stage make-up must adopt and reconstruct internal factors of the play such as interpretation of the original work, subject matters, interpretation of the script, character analysis based on the discussion with a director, and design setting.

• 트랜스-
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• 제1권
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• pp.67-89
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• 2016

본 연구는 이 시대의 무용가들 중 전통을 이어 창작하는 그룹과 다음 시대로의 공연형식을 열어주는 그룹을 선정하여 작품을 분석하면서 트렌드에 대한 논의를 하고자 한다. 이를 위해 선정한 작품들은 일반적으로 상상하고 있는 테크놀로지와의 융복합이 아닌 발레와 일상의 협업으로 구성된 무용을 비디오라는 또 다른 도구를 차용하여 새로운 형식으로 한 저스틴 펙(Justin Peck)과 타 문화(신체 장르)와의 협업을 형식으로 하는 시디 라비 체카위(Sidi Larbi Cherkaoui), 그리고 마지막으로 Site-Specific Dance Performance를 주도하는 자크 모리스(Zach Morris)를 선정하였다. 무용 트렌드 분석을 위하여 테크놀로지와의 융복합이 요구되는 사회의 공연예술 문화 환경에서 다른 차원의 융복합을 시도하고 있는 세 명의 안무가의 분석은 다음과 같다. 첫째, 미국의 저스틴 펙은 발레의 본질을 유지하면서 인위적으로 만든 공연장의 범주에서 벗어나 대중과 일상 안에 공존을 유도하며 주제를 표현하였다. 둘째, 벨기에의 시디 라비 체카위는 안무가 자신의 내공이 담보가 된 무한한 움직임의 역량을 소유한 창작자이다. 따라서 다양한 타 문화와 신체의 융합을 통해 용이하게 창작 작업을 하고 있다. 마지막으로 미국의 자크 모리스는 무용 전공이 아닌 연출 전공자로서 움직임을 포함하는 복합 형태의 이머시브 시어터(Immersive Theater) 형식으로 새로운 공연 장르를 주도하고 있다. 각 안무가들의 작품은 유튜브에 나와 있는 영상을 중심으로 장면 및 내용과 형식을 서술적 방법으로 분석하였다. 본 연구의 분석이 젊은 안무가들에게 그들만의 트렌드를 만드는 역할을 하는데 기여할 것으로 기대한다.

• 한국운동역학회지
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• 제24권3호
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• pp.269-275
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• 2014

The purpose of this study is to develop functional garment wear for patients with adolescent idiopathic scoliosis (AIS) and to analyze changes in Cobb's angle and the COM of the body and the pelvis during gaits in order to identify the effects of the functional garment wear. The subjects of the study were 9 patients with adolescent idiopathic scoliosis, who wore the functional garment wear for 12 weeks 12 hours a day. As for the research methods, the scoliotic angle was measured using Cobb's angle, and the shoulder angle and the COM of the body and the pelvis during gaits for the AIS patients were calculated using five high speed infrared cameras. As a result of the study, it was found that the scoliotic angle (Cobb's angle) was reduced significantly and that the smaller the original scoliotic angle, the greater the effects. As for the shoulder motion angle, a significantly larger angle was found 12 weeks after wearing the functional garment wear, and particularly, larger shoulder motion (activity) was observed at the phase of right heel contact. As for the motion of the body and the pelvis, the moving ranges were significantly reduced after wearing the functional garment wear for 12 weeks, which stabilized gait in the patients with adolescent idiopathic scoliosis.