• (The) Research of the performance art and culture
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• no.23
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• pp.245-280
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• 2011

One of the major streams of modern play in Korea is the work of introducing Korea's traditional ritual-'gut' into a play. Such work, together with the stream of diversification of culture, has brought about the tendency to induce 'gut' into a play in a creative way. The research on ritual plays in Korea has been done in the direction of studying the ritual plays in the West centering on the work of theoretically inquiring into histrionic features inhering in 'gut' as a ritual. This research made an analysis of the receptive aspect of rituals and histrionic characteristics presented in Korea plays through "Sanssikgim" and "Ogu" on the basis of the theory of ritual plays established by Artaud. In an effort to understand the receptive aspect of rituals, this research analyzed what forms these Korean works are borrowing from "Ssikgim gut" and "Ogu gut" while analyzing these works differently from the viewpoint of Artaud regarding characteristics of ritual plays. Accordingly, this research made an analysis of the structure and characteristic of "gut" with the aim of understanding in what form "gut" is absorbed into Korean plays by looking at the theatric receptive forms of "gut." The ritual plays in Korea originated in "gut." Likewise, the theater of cruelty by Artaud was greatly influenced by the belly dance stemming from "mudang-gut" in Asia. Accordingly, there is considerably exposed something in common between the ritual play in Korea and Artaud's theater of cruelty. "Gut" in Korea, or ritual plays are a little different from Artaud's work which makes its audience feel unfamiliar in that 'gut' or ritual plays in Korea are pursuing ritualistic quality and playing quality simultaneously, but there exists a similarity between the two in that they both desired to have communication with audiences. This researcher strongly believes that for the time to come, when the receptive aspect of the modern play assuming ritualistic quality is developed using the medium of communication with audiences, purification and play therapy, its direction will be more noticeably exposed.

• (The) Research of the performance art and culture
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• no.40
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• pp.137-161
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• 2020

In this article, I examined the conflict of youth reflected in Bae Bong Ki's plays based on theory of 'conflict'. Bae Bong Ki has been questioning the 'youth rights' in determining the content of performances, along with 'the magnetic field of college entrance examination' where most of the youth feel under huge pressure in his play. In the and , I focused on the students with the highest grade and the students with the lowest grade in the context of university entrance examination. Students who are struggling to keep the grades up are captured in this play as the educational reality of adolescents in distress. The situation of the top and bottom students is different, but both top and bottom students were too stressful to go to school. And 'the rights of the youth in deciding the content of the performance' in was a difficult topic because it collides with the right for the teacher to educate. It is expected that many plays will be created reflecting the conflict of youth in the future, and youth theater as well as discussions upon it will be enriched.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.20 no.1
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• pp.61-67
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• 2020

The game has several genres. Actions, RPGs, FPS, and simulations are diverse, and the game that flows around the story is a game genre that feels like watching a movie on the other. Internet game broadcasters can be thought of as playing a movie in a movie theater when they broadcast a story-type game. The difference with the movie theater is that you can get involved in the story by showing your play directly to viewers. As a broadcasting material, story-type games are a good means, but the fact that the story is published on the Internet in terms of game publishers can have a negative impact on sales revenue as viewers can enjoy the story without purchasing the game. The purpose of this study is to analyze the coordination status between producers and internet broadcasters for story-type games that could be copyrighted and suggest ways to move forward.

• The Journal of the Korea Contents Association
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• v.16 no.5
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• pp.440-448
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• 2016

This study analyzed the issue and limit of artists's Welfare Law. The issue is about artists' labor, their status, and the process for buying social insurance. In this study, we used the literature method the existing data collection clean up, analysis, and evaluating. The solution plan for the vitalization of the guarantee of social insurance for stage actors is as follows. First, based on social insurance law, is to grant an exceptional status to stage artists. Second, the process for buying social insurance has to be changed to posterior judgement by Ministry of Culture, Sports, and Tourism after buying social insurance through Ministry of Employment and Labor. And when a theater company as a leaseholder rent a theater, it should be mandatory for it to get existing industrial accident compensation law. As a new numerical formula, there are an unemployment insurance numerical formula considering distinct characteristics of artists' labor and a formula of calculating insurance fee for industrial accident compensation. Last, there needs to be an introduction of exceptional method allowing a preparatory period for the production of a play and stage actors' side job.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.15 no.5
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• pp.213-217
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• 2015

Seoul has 25 areas of City Hall, the ward office has been operating theater at least 1 in maximum 4-5 locations to various sized places. The purpose of theater has been used for a variety of purposes to typical performances of Drama and Musicals, School play, Lecture. This points to a Variety of ideas for use, when replacing an exsting halogen luminaires, appropriate LED luminaires, Learn more if there is any advantage in terms of the energy saving part. it will be applied to the value for the energy saving to ward office hall of the actual targets. In case replacement in existing halogen luminaires to LED luminaires, to energy savings of about 80% appear around. Get the advantages of the various functional properties a device chip of the LED itself, Forward will be referred to as easy to replace the halogen luminaires and LED luminaires.

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.73-82
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• 2019

The satirical content of the absurd play, centered on Lee Keun-sam's play, represents the family image of a modern capitalist society where only duty is emphasized while the characters are lost in love with the family. They show humans becoming subordinate to economic logic as traditional relationships and family relationships change into material ones due to the rapid development of the economy. The narrator expresses the roles of the performer and the narrator together. It also presents the plot as a characteristic element of epic and absurd dramas, and directs actors as directors. It also foretells the events that will take place in the future, presents the inner consciousness of the characters in the play, and reduces and expands events and times. In terms of conflict, in order to fulfill the financial responsibility of their children, the professor translates them like a machine and the wife distributes the money they earn as they demand. The middle-aged professor and his wife are not willing to make a difference in the real world, so specific conflicts are not revealed. Therefore, no concrete conflict appears within this work. The plot of consisted of 22 epicentre compartments, consisting of a time frame from evening to the next morning. And no special events happen and show only one family's daily life. In addition, materials that show simple repetition of daily life such as newspapers, rice, birthdays, etc. are effectively showing the character of absurdity through repeated structure. The linguistic features of the absurd play focus on expressing anxiety, despair, fantasy and the sense of loss that the object's purpose has disappeared. The stage system avoids detailed portrayals of naturalist plays and creates a thoroughly simplified image that the theme of the play demands, which shows that the stage unit is also an important element that characterizes the absurdity of reflexes.

• (The) Research of the performance art and culture
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• no.32
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• pp.71-106
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• 2016

This study analyzes the current work of the traditional theater around 'Back Parkcheomji(season2)' of theatre troupe 'Saninomou'. 'Back Parkcheomji(season2)' has proved that it is possible modernization while at the same time preserving the traditional theater. As a result, 'Back Parkcheomji(season2)' regained the spirit of contemporary social criticism and reality inherent in Kokdugaksinorum. The performance are beyond the traditional production method, which has created a new performance aspects. 'Back Parkcheomji(season2)' has created the puppets like this 'Kimga' 'Seweolho' 'Ryukbang' 'Chourani'. Traditional and creative dolls has criticized our modern society at the same stage. On the other hand, plays such as tightrope, Pungmul, Burna confirmed the spirit of Namsadangpae, and gave a dramatic fun. 'Back Parkcheomji(season2)' has dual stage. The dual stage will produce a magnificent spectacle, and has provided a variety of attractions. 'Back Parkcheomji(season2)' re-created the traditional theater of Namsadangpae in vivid contemporary version. The performance has made the opportunity to think again about the value of classical and allowed to recognize the new phase of classical theater.

• (The) Research of the performance art and culture
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• no.36
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• pp.553-584
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• 2018

In order to succeed to the 'Traditional Play Series 1~9' by Prof. Sa Jinsil, this article sought the contact points between the traditional drama and the elementary drama education that Prof. Sa Jinsil held. The educational perspective of the prof. Sa Jinsil is reflected specifically in the seventh and eighth volumes. However, these educational perspectives are similar to those presented in the 2015 revised curriculum. It is also similar to the cultivation of humanities through theater education. In other words, the similarity is confirmed in that the target is creativity-interdisciplinary type human. The foresight of the prof. Sa jinsil in the education for creativity-interdisciplinary type human is confirmed. On the other hand, in order to cultivate creativity-interdisciplinary type human, it is also required to cultivate the ability to 'fun speaking' as well as 'logically speaking'. In this regard, I presented Jaedam, one of the Korean traditional plays, as an alternative. The reason for this is as follows; (1)It is possible to succeed Korean traditional theater performance style through regular class. (2)Students can develop emotional and empathy skills through fun speaking education. (3)Students will develop persuasive storytelling skills. At this time, the traditional play series 1~9, which contains the works of Prof. Sa Jinsil, and cultural ideas and educational ideas, will be useful.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.101-110
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• 2019

The actor's art work is to build and create a role on stage based on the writer's drama. The actor's role creation is possible by analyzing the role of the writer in the drama logically and acting it actively. This is how an actor who practices practical acts goes beyond a stereotypical role-building and performs live acting skills. A case study in the field work for the application of Etude is absolutely necessary at present, where Etude of Stanislavsky is operated in Korean university education and field. This study will be a case in which Etude, which is a scientific and systematic acting methodology of Stanislavsky, is recognized and applied in the field as a methodology for more extended actor training methodology rather than making a judgment about the value of Etude as applied to theater education and the field as an acting training method. The researcher will introduce the methodology of using Etude as an acting method of Stanislavsky through the use of Etude in the creative play , and would like to give an example of an acting creation process model about 'how to apply Etude'. Through these studies and applications, actors can avoid falling into stereotypes and mannerism, and prepare the foundations for a living actor's art, the acting guide for creating a practical role.

• The Journal of the Korea Contents Association
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• v.14 no.11
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• pp.79-88
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• 2014

Vampilov, who is not well known as a playwright in domestic, is acknowledged comparable to Anton Chekhov in Russia. This paper was planed in order to promote a unsatisfied study until now in domestic for works by Vampilov and studied a part of composing play to put on the stage for , a drama written by Vampilov. This paper, originated from a viewpoint that actor have to complete the final text of the play for audiences to read depending on the drama and based on work features and characters of Vampilov, established an analysis scheme according to segments of unit actions for actions of Sarafanov, the character of the play, in order to achieve a purpose under suggested situation at the drama and focused on completing purposes per units individually. We have analyzed Sarafanov and his actions referring patterns and probabilities of the characters in the other works by Vampiov and regarded it as the important item together with logical basis of actions. Lyric and humanism emphasizing works by Vampilov, affected by Anton Chekhov and Nikolai Vasilevich Gogol, are acknowledged as realistic descriptions using contingency and a play within a play outstandingly and emphasized an importance of human relation. We have selected as a primary way to compose action text that audiences would read on the stage and used it as the method to design action of the characters in order to activate natural good of Sarafanov and general absurdities that human, does creative works, never give up purposes of ideal life.