• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.45-54
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• 2021

Jeong Sun-Ah built up her performance career for twenty years with bold and energetic acting and solidified her status as a leading actress of Korean musical since her debut. To benefit from the value of her experience this study performed an in-depth interview with her, applying the Theory of "Projection" and "Back-projection", which are the psychological principles of acting, and derived "acting(entering the roles)" and "de-acting(leaving the roles)" techniques. As result, Her acting mechanism involved emptying her ego, embodying a persona by projecting the role created by intensive exploration of materials like previous performance, film of the same title, original novel, and script, and then getting the ego back by back-projecting through dynamic activities such as overseas travel and dance. She pre-studied the roles by physically visiting sites that are important to the characters. She was unique in that she pursued a difference by changing vocal trainers for each musical production and undertook more intense physical training than vocal practice to achieve powerful singing performance. In most of her works (75%), she suffered from aftereffects such as depression, narcissism, hysteria, and insomnia due to disorder caused by breaking away from the roles. However, she relied on self-help and alternatives are needed in the future such as reinforcement of expert counselling. Jeong Sun-Ah appeared on an average of 1.6 productions per year, practiced for an average of 1.7 months, and performed for an average of 3.9 months with an average of 100 days of break between productions. Her performance record from this research demonstrates her constant preparation and passion, as well as the know-how of reserving and distributing energy. So, it has a valuable implications for acting education and self-management of actors and actress.

• (The) Research of the performance art and culture
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• no.18
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• pp.379-412
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• 2009

According to "Jinjak-yigwe(進爵儀軌)", a special banquet was held at Yungyungdang(演慶堂, a kind of royal theatre) to celebrate the 40th birthday of Queen Soonwon(純元王后) in 1828. This banquet is famous for the presentation of nineteen new Jungjae(呈才) repertoires that the Crown Prince Hyomyung(孝明) created. In order to explore the theoretical basis for the reproduction and presentation of Yungyungdang(演慶堂) Jinjak(進爵, a type of royal banquets), in this article, the imagination and experience of the presentation of Yungyungdang Jinjak are pursued, while focussing on audience's reception. In Yungyungdang Jinjak, King Soonjo(純祖), Queen Soonwon and the prince were the special audience; they participated in the procedure of Ye(禮, etiquette of ceremony) and also were considered as the characters of certain repertoire of Jungjae. Hyomyung arranged the spectacles from the myths of Taoist gods and immortal hermits, as well as historic episodes of the past emperors' elegant tastes of music. These mythic and historic images lead the audience toward the imagination and experience on the transcendental world. Hyomyung, managing the administration as the representative of King Soonjo, tried to show absolute royal authority through the splendid performances of Yungyungdang Jinjak, so as to overcome the politicaly difficult situation. He set up the sacred world for his father King Soonjo, distinct from the secular ordinary world, and emphasized his position as the bridge between the two sides. He expressed his filial duty through the devotion of performing arts to display absolute royal authority.

• 대한공업교육학회지
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• v.34 no.2
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• pp.128-160
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• 2009

Narratively I have described interactions between two teachers performing an introduction to the engineering class with various situations such as place, teacher, student and subject. I have specifically illuminated a three-dimensional narrative inquiry space embracing the culture of the university, the college of engineering and the ABEEK(Accreditation Board of Engineering Education of Korea)program. The result of the study is as follows: First, in order to stimulate the students' motivation, the teachers have to make not only their class PowerPoint slides match the size of the classroom, but the content of the slides must be condensed with core concepts. They also should utilized some video clips to empower students' interest in the subject within their classrooms. Second, the teachers should do various class activities in the classroom. Instead of spending most of the class time with his/her explanation, it would be advantageous for the teachers to allow the students to perform a task in class. Third, the teachers should ask their students about assignments which are helping students' understanding of the subject and planning of their future. Lastly, the teachers need to design the mid-term and the final tests inducing the students' motivation. Those tests also must test students' creativity and insight of the subject. Thus, the test should consist of an interpretive exercise and an essay type of item thus reducing the multiple choice types of items. There are several limitations to the study. First it is difficult to generalize what we found here because it is a case study. Second, we could not study in depth the effect of the interaction between the two teachers who were performing the introduction to the engineering course during the academic semester. Third, this study just probed into the difficulties of teaching the course. Hence, we have to understand more by focusing on each issue such as adapting to a new learning environment as a student from abroad, a practical experience boosting the students' interest in the introduction to the engineering course, also a practical experience on process based learning-versus result based learning, and an effective management of the student team presentation etc.

• (The) Research of the performance art and culture
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• no.42
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• pp.107-146
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• 2021

This article examined the current status of performance activities in the theaters in Ulsan during the Japanese colonial period, and examined the characteristics and social roles of performance culture at that time.,The cultural space during the Japanese colonial period can be divided into theater space and semi-theater space.,The theater spaces in Ulsan include Daejeonggwan, Sangbanggwan, and Ulsan Theater. The semi-theater spaces include Ulsan Youth Center, Ulsan Youth Alliance Hall, Barrack Youth Hall, Eonyang Youth Alliance Hall, Eonyang Christian Hall, Eonyang Christian Hall, Eonyang Inn, Eonyang Public Inn, Eonyang Public Normal School, Seosaeng School, Ulsan Public Aid Auditorium, Night school.,These spaces not only held events or performances for a specific purpose, but also played a role as public spaces producing local discourse. The theater was a complex cultural space where performances are performed along with movie performances, and artists and audiences meet.,Furthermore, the theater provided a special experience of producing and consuming various issues such as colonial modernization, modern city formation, and the emergence of new popular culture beyond the meaning of stage space.,The theaters in Ulsan also functioned as a space to represent the foreign culture acceptance, leisure activities, the performance and viewing of cultural contents, and the artistic skills of local artists in accordance with the purpose of establishing local theaters.,It was a base space for local discourse production and enjoyment activities by holding political rallies, meetings, lecture activities, and various conferences.,Political rallies were also concerts, enlightenment activities were also accompanied by film screenings, and music performances were associated with dance performances and charity gatherings.,In particular, Ulsan Theater, which is the first theater in Ulsan, and the role of the public hall, held a lecture, debate, and oratory for public enlightenment along with performances such as musical drama, children's song contest, fairy tale contest, small-sized play performance,, It was widely used as a large-scale rallying place, and served as a public hall, such as a place to visit outside theaters. Thus, the theater and semi-theater space in Ulsan during the Japanese colonial period improved the cultural level of the region, fulfilling the aesthetic needs of the local people and faithfully fulfilling the social role as a public sphere leading the public opinion and agenda.,And it was also positioned as an alternative public area of ​​modern society and also played a role as a public institution.

• Journal of Broadcast Engineering
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• v.25 no.4
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• pp.518-527
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• 2020

360 VR technology is used not only in movies, but also in performing arts such as music, theater, dance, and so on due to the characteristics of immersion and presence. The technology allows the audience can be perceived a feel of participation in a story. This study is conducted an analysis of the techniques of 360 video shooting in order to find the answers of the following questionaries: how to make viewers enhance to a better understanding of a space, how to make the viewer feel comfortable ceding control of the experience, how to generate greater empathy with a 360 video. Thirty cases were analysed 360-degree videos of live performances performed on stage among 360-degree images of music performance content shared on Youtube from 2015 to 2020. The result shows that live performances are performed with the audience, so the stage shape and the layout of the audience seats are preferred to the characteristics of the performance. It was also shown that directing using a 360 VR camera was also greatly affected by the stage and audience placement. The stage is manly classified into three types, and the camera layout and characteristics mainly used are organized according to the number of 360 VR cameras, whether fixed or mobile cameras are used.

• Korean Journal of Applied Biomechanics
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• v.26 no.1
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• pp.11-20
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• 2016

Objective: This study aimed to compare biomechanical data between elite and beginner cyclists during cycle pedaling by performing a comparative analysis and to provide quantitative data for both pedaling performance enhancement and injury prevention. Methods: The subjects of this study included 5 elite cyclists (age: $18{\pm}0years$, body mass: $64.8{\pm}9.52kg$, height: $173.0{\pm}4.80cm$) and 5 amateur cyclists (age: $20{\pm}0years$, mass: $66.6{\pm}2.36kg$, height: $175.6{\pm}1.95cm$). The subjects pedaled on a stationary bicycle mounted on rollers of the same gear (front: 50 T and rear: 17 T = 2.94) and cadence of 90. The saddle height was adjusted to fit the body of each subject, and all the subjects wore shoes with cleats. In order to obtain kinematic data, 4 cameras (GR-HD1KR, JVC, Japan) were installed and set at 60 frames/sec. An electromyography (EMG) system (Telemyo 2400T, Noraxon, USA) was used to measure muscle activation. Eight sets of data from both the left and right lower extremities were obtained from 4 muscles (vastus medialis oblique [VMO], vastus lateralis oblique [VLO], and semitendinosus [Semitend], and lateral gastrocnemius [Gastro]) bilaterally by using a sampling frequency of 1,500 Hz. Five sets of events ($0^{\circ}$, $90^{\circ}$, $180^{\circ}$, $270^{\circ}$, and $360^{\circ}$) and 4 phases (P1, P2, P3, and P4) were set up for the data analysis. Imaging data were analyzed for kinematic factors by using the Kwon3D XP computer software (Visol, Korea). MyoResearch XP Master Edition (Noraxon) was used for filtering and processing EMG signals. Results: The angular velocity at $360^{\circ}$ from the feet was higher in the amateur cyclists, but accelerations at $90^{\circ}$ and $180^{\circ}$ were higher in the elite cyclists. The amateur cyclists had greater joint angles at $270^{\circ}$ from the ankle and wider knee joint distance at $0^{\circ}$, $180^{\circ}$, and $360^{\circ}$ than the elite cyclists. The EMG measurements showed significant differences between P2 and P4 from both the right VLO and Semitend. Conclusion: This study showed that lower body movements appeared to be different according to the level of cycle pedaling experience. This finding may be used to improve pedaling performance and prevent injuries among cyclists.

• Journal of Gifted/Talented Education
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• v.15 no.1
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• pp.1-10
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• 2005

Overexcitaility (OE) as a concept that is related to developmental potential, has been shown to differ by intelligence, gender, involvement in school programs and artistic interest in American populations of students. Overexitability, used to describe the five ways that people might experience developmental potential for emotional growth, are emotional, intellectual, imaginational, sensual, and psychomotor. Little is known about the profiles of groups of gifted learners outside of studies conducted in the United States. In order to better understand the emotional needs of Korean students, the purpose of this study was to determine the overexcitability profiles of students enrolled in four high schools, each with a different domain focus: math and sciences, visual and performing arts, and foreign languages. 341 subjects of this study completed the Overexcitability Questionnaire II. Multivariate Analysis of Variance (MANOVA) was conducted to determine statistical differences. The results showed that Mean scores of psychomotor, sensual and imaginational are highest in the Art High School, intellectual is highest in the Science High School and emotional is highest in the Foreign Language High School. There were significant differences among the schools. Each major also showed significant difference. The results showed that mean score of psychomotor is highest in the Dance major, sensual, imaginational and emotional are highest in the Drama majore and intellectual is highest in the Science major. The results showed that the mean scores of psychomotor, imaginational and intellectual are higher in the male students than female students. On the other hand the mean scores of sensual and emotional are higher in the female students than in the male students.

• (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.

• Journal of Digital Convergence
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• v.19 no.7
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• pp.327-340
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• 2021

The purpose of this study aims to empirically verify about the impact of the customer satisfaction on the characteristics factors(presence, empathy, responsiveness, and interaction) on the customer satisfaction of 'Asia Model Festival', which was heldis an as untacted fashion and beauty performance that was successfully conducted in Seoul duringinyear 2020. and tThe regulatory effect of innovation resistance in the relationship of the characteristic factors and the customer satisfaction was also reviewed. The analysis showed that the characteristic factors have a positive effect on customer satisfaction, and the innovation resistance is found to control the relationship between interaction, empathy, and the customer satisfaction of the characteristic factors by the subfactor. By identifying the characteristic factors that affect the customer satisfaction of the un-tacted(Zzero Ccontact) visitors, which are expanding due to COVID-19, and studying the effect of controlling the innovation resistance, this study provides a basis for knowing what un-tacted(Zzero Ccontact) visitors need and what services they want to receive, and it presents practical implications and provides basic data for relevant research.

• Journal of Digital Convergence
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• v.19 no.11
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• pp.315-325
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• 2021

This study conducted a questionnaire survey on 280 people who had experience of using mobile augmented reality-based online concerts. Using the SPSS 21.0 and AMOS 21.0 programs, the factors affecting the intention to reuse were investigated through statistical analysis(correlation analysis, path analysis, etc.). The main results are as follows. First of all, Presence and interactivity had a positive effect on flow, perceived ease of use and perceived usefulness. Flow had a positive effect on perceived ease of use and perceived usefulness. Perceived ease of use had a positive effect on perceived usefulness, and perceived usefulness had a direct positive effect on intention to reuse whereas perceived ease of use had an indirect effect on intention to reuse through perceived usefulness. In order to increase the intention to reuse of the mobile augmented reality-based online concert, it is necessary to prepare a plan to increase the level of presence, interactivity, and flow experienced by users. This study identified factors that affect the intention to reuse online concerts based on mobile augmented reality in an untact society. Therefore, it will be meaningful in that it presents the implications necessary to prepare a plan that can be efficiently accepted by consumers for the rapidly growing mobile augmented reality-based online concert.