• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.157-164
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• 2019

If a drama play is interested in recreating the play text on stage, the post-drama play aims at a drama that has been liberated from the play text. In this process, the boundaries created by drama theater are dismantled. Actors and audiences, fiction and reality, theater and non-theater, works and events, language and non-language are the names of typical boundaries. The demolition of these boundaries is an opportunity to restore the festival character of ancient Greek theater, which was forgotten by drama theater. This has led to the dismantling of language-centric and play-centricism, which has dominated the play since Aristotle, and has led to a new play. If language-centered, play-centricism has brought about the crisis of drama, the post-dramatic play dismisses them and finds ways to communicate with the audience as new cultural content. The method is found above all in the restoration of dramaturgy. This is because the post-drama plays are more dependent on theatricality than literature. The demilitarized nature of post-dramatic play with enhanced theatricality will be a stepping stone to popularization, and this shows the possibility of post-dramatic play as cultural contents.

• Journal of Families and Better Life
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• v.17 no.1
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• pp.139-154
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• 1999

The purpose of this study was to examine the effects of dramatic play on the hyperactive-children's self concept and their hyperactivities. The subjects for this study were 144 five-year old children of Y kindergarten in Seoul. Through the Teacher-Questionary modified by Koung-ja OH(1986) 26 children were assigned to the experimental group and the control group 13 hyperactivity-children (boy:11 girl:2) in the experimental group had dramatic play of which the main themes were positive self concept formation. but the 13 children(boy:11 girl: 2) in the control group did not any dramatic activities. Experimental procedures for the self concept test and the hyperactivity test were pre-test experimental treatment and 2 times post-test by 2 months. Self concept test used for pre-test and post-test was The data was analysed using t-test and paired t-test. The result are as follows: 1. In the pre-test for self concept the scores of the control group showed higher than that of the expe imental group. But there were significantly increased difference between pre-test and the first post0-test in the experimental group. 2. In the second post-test for self concept of the experimental group after 2 months there were no significant differences between the first post-test and the second post-test. 3. In the hyperactivity test there were no significant differences in the control group,. But the experimental group showed decreased hyperactivities in the first post-test. 4. In the second post-test for the hyperactive-children's hyperactivities in the experimental group after 2 months there were no significant differences between the first post-test and the second post-test The dramatic play influenced on the hyperactive-children's self concept positively and the decrease of hyperactive-children's hyperacivities.

• Korean Journal of Child Studies
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• v.19 no.2
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• pp.173-184
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• 1998

The present study investigated the effects of a theme-relevant play center on children's play behavior and intersubjectivity with an integrated approach to early childhood education. The subjects were 24 kindergarten children (12 boys and 12 girls). Half of the experimental subjects participated in a novel dramatic play center connected with a specific theme for the duration of 5 weeks. pre- and post-testing was conducted for all children. The theme-relevant dramatic play center wits an integrated approach to early education facilitated a high level of play behavior and children's intersubjectivity.

• Korean Journal of Human Ecology
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• v.19 no.3
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• pp.443-453
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• 2010

This study analyzed the effects of dramatic play using Economic-fairy tales on young children's basic- economic understanding and the consumer behavior. The participants in this study were 42 young children who attended a kindergarten in G city. The mean age of participants was 70 months. The experimental group participated in 'Dramatic play using Economic-fairy tales' while the control group participated in a 'Discussion activity using Economic-fairy tales'. The experiment used 'The Basic-Economic Concept Test' and 'The Consumer Behavior Test' in the collection of data and T-test was used to statistically analyze the data. Significant differences were found between the experimental group and comparison group in both the post-test score of Basic-Economic Understanding and of Consumer Behavior NOTE. In conclusion, the results of this study suggested that the technique of dramatic play using Economic-fairy tales which was developed in this study are probably effective in developing young children's basic-economic understanding and consumer behavior.

• Journal of English Language & Literature
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• v.56 no.3
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• pp.519-541
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• 2010

A number of recent Victorian studies have participated in a renewed focus on form. E. Warwick Slinn and Monique R. Morgan, for instance, have contributed to enhancing our understanding of the Victorian dramatic monologue. This paper aims to expand what they have addressed by revisiting the mechanics of the dramatic form as a form, in particular addressing two types of dramatic monologue represented with supreme adroitness by Robert Browning and Alfred, Lord Tennyson, both of whom successfully attempted to widen our epistemology through a large act of the poetic imagination and great intellectual power. To this end, this paper lays particular attention to the role of the reader who is regarded as a key element of the dramatic aspect of the genre. In the dramatic monologue proper, real readers are actively brought into dialogic relation with the speaker or the poet, or both, whereby it seeks to represent an act of play among the poet, the speaker, and the reader. What the genre achieves in this fashion is twofold. For one thing, it pushes itself sufficiently to the very centre of the complex of apparently various narrative motives that animate the genre; for another, it honours the world of multiple viewpoints more than any other previous form of literature, all the more so as readers' views vary across their own time, space, and socio-cultural contexts. Incidentally, in one way and another, the dramatic monologue is of kinship with a Jamesian type of fiction, which is noted for its exterior impersonality. So this paper concludes by suggesting some theoretical implications that the dramatic genre assumes for, not only the naturalist novel, but also the (post-)modernist one.

• Korean Journal of Childcare and Education
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• v.7 no.3
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• pp.211-238
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• 2011

This study examined the effects of drama play activities on child's initiativeness. The participants were 34 five-year-old children in two classes of a child care center. Before the experiment, the initiativeness test was conducted on the children of the experiment and control groups. initiativeness was categorized into emotional ability, communication skills, and achievement motivation. Drama play activities were directed to the children of the experiment group while the existing program was applied to the control group. After the experiment, both the experiment and control groups took the post-test. Analysis of data was performed by ANCOVA. According to the result of the research, children of the experiment group participated in drama play activities showed more effects in all sub area of initiative including emotional ability, communication skills, and achievement motivation than children of the control group. This result implied that dramatic play activities are effective teaching-learning method for enhancing child's initiativeness.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.12
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• pp.1761-1771
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• 2007

The artificial exaggeration of stage costumes is thought to be one of the major techniques of enhancing dramatic expression on stage, whichever for visual impact or symbolic effect of dramatization. In the history of stage dressing, a variety of styles has been tried using different materials and production techniques. This may be reviewed as an effort to express dramatic effects more effectively. As this trend became obvious in Europe after the Second World War, this study analyzes the stage costume to deepen our understandings of the role of costumes in expressing dramatic effects. To accomplish this, we first summarized the history of stage costume materials and technical advance and chose five major cases representing the history of stage costume since the Second World War in Europe based on aesthetic and creative aspects: 1) Simplified stage of Jacques Copeau, 2) Stylized stage of Bertolt Brecht, 3) Essential stage of Grotowski, 4) Measured stage of Robert Wilson the Master, and 5) Post-dramatic stage of Philippe $Decoufl\'{e}$. In each of particular case, the historical, material and dramatic contexts were examined as well as different material-effects. The results are as followings: 1) Costume for Copeau's simplified stage: its simplicity plays a supporting role to the gesture of actors(intensifying effect). 2) Costume for Brecht's stylized stage: the artificial stylization integrates into the play with the importance approximately equal to the actors's acting. 3) Costumes for Grotowski's essential stage: costumes disappeared to emphasize only actor's presence on stage. 4) Costumes for Robert Wilson's measured stage: costumes made concrete impression to the extent of obtaining the same importance of actor's body among other stage art elements(lighting, sound, props, actor, text, etc). 5) Costumes for Decoufle's post-dramatic stage: costumes in the era of multi technology possess multi functional aspects that surrogate actors' body. This study suggests that stage costumes take an important part in dramaturgy to the extent that the intent of dramaturgy can be induced enough from stage costume. Thus, costume makers are expected to incorporate the appropriate dramatic factor more than before.

• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.1 s.114
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• pp.92-106
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• 2006

The process of designing Cheonggyecheon Entrance Plaza began with researching four keywords: plaza, restoration. modernity and icon. The outcome of the research was reinterpreted into and informed the design. An urban plaza must not only be a stage for civic life but should also be a portrait of the city to which it belongs. Many Korean plazas, however, are treated as if they are parks. Yeouido Park, which was originally a vast urban void, and Seoul Plaza, recently paved with grass, are good example. The strong 'green myth' can hinder socio-political activities. Cheonggyecheon cannot be said to have been 'restored', since it is still disconnected from its origin and upper streams, and the water is circulated by electricity. So it is better understood as an artificial urban waterfront, rather than an ecologically restored stream. This fact might diminish its ecological value, but not its recreational one. The entrance plaza therefore should reflect that the new stream brings back an 'experience', not only water itself. At the same time, the catch phrase of this restoration project was 'post-modern'. The demolished Cheonggye Expressway represents the 'economy drive' of the 1970s, so the newly opened Cheonggyecheon serves as a perfect counterpart to it. But modernity in Korea is the spirit that made many of the good things, not only its shortcomings, we have now. And from the philosophy of this restoration project, we can see that it is still an ongoing attitude in a way. Remnant of Cheonggye Expressway can evoke our nostalgia for the era. There are plenty of symbols in Seoul, both as architecture and objects. But none of them provide citizens with experience, other than the experience of looking at them. Cheonggyecheon Entrance Plaza is a good place to serve as an icon for a dynamic Seoul. From the research, the designer concluded that this plaza should commemorate the incomparable horizontal experience of Cheonggyecheon and the old expressway, amid the vertical metropolis. The Pedestrian Sculpture, which people can stroll on and look out over Cheonggyecheon, is to be made of steel cladding with a core structure and represents the dynamism of the stream, Seoul and contemporary Korea. The choice of material and the steel structure are also ways of creating the icon. The Water Plaza, the space underneath the ramp, will accommodate people and their urban activities, providing an opportunity to play with water. The Waterblades will be a device for the dramatic beginning of the stream, simultaneously camouflaging ugly openings in the outlets. The Wall of Archaeology is to be made with pre-fab resin blocks, translucent enough so that people can see through any archaeological findings of the site. The strong water-resistant character of resin makes the wall steady throughout the flood season as well. Cheonggyecheon restoration project is an effort to combine contemporary urban demand with the once-existing physicality by evoking our nostalgia for it. The project itself shows many socio-political issues of present-day Korea. The entrance plaza design thus is focused on suggesting an icon for the metropolis, simultaneously celebrating the stream itself. Within this space, people will be exposed to a unique experience that any 'green myth' cannot offer.