• (The) Research of the performance art and culture
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• no.19
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• pp.379-418
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• 2009

This study is a link in a chain which grope for the description of puppet performance history. This study imply my intention which is not a description of puppet performance 'history' but a description of 'puppet performance' history. Object materials of this study is materials connected with puppet performance from ancient times to Chosun dynasty. Object materials of this study include not only records but also remains and pictures. Discussion start with regulation of puppet performance materials and establishment of a classification criterion. As a result of that discussion, the age of puppet performance is as follows: 'the age of diverse use of puppet', 'the age of ritual puppet performance of worship', 'the age of play puppet performance of handling', 'the age of ritual puppet performance of display', 'the age of ritual puppet performance of expulsion', 'the age of ritual puppet performance of handling', 'the age of play puppet performance of display', 'the age of play puppet performance of handling and voice-acting'. According to the internal division of age, the description of puppet performance history which is spread chronologically is attempted. As a result of the description, I confirm that puppet performance reveal a one's unfolding process. And a distinct aspect from the general cultu! re history is found. The development process which is a changeover that is 'from ritual puppet performance to play puppet performance' is amended by a circulation of ritual puppet performance and play puppet performance'. And the development process which is a changeover 'from static puppet to dynamic puppet' is amended by a circulation of static puppet and dynamic puppet'. Like this the thing which is laid in the inside which is not a one sided changeover but is a circulation is said that from one age of puppet performance to other age of puppet performance is not a close of former puppet performance tradition. Unfolding from one age to other age, on the other hand former puppet performance reveal aspect which is a continuance and change with a one's vitality. And a relation of mutual influence is exist between the ritual puppet performance and the play puppet performance on a large scale, among the puppet performance types on a small scale. this also don't overlook in cas! e of a groping of puppet performance history.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.13 no.4
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• pp.2042-2059
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• 2019

Digital shadow puppet has traditionally relied on expensive motion capture equipments and complex design. In this paper, a low-cost driven technique is presented, that captures human pose estimation data with simple camera from real scenarios, and use them to drive virtual Chinese shadow play in a 2.5D scene. We propose a special method for extracting human pose data for driving virtual Chinese shadow play, which is called 2.5D human pose estimation. Firstly, we use the 3D human pose estimation method to obtain the initial data. In the process of the following transformation, we treat the depth feature as an implicit feature, and map body joints to the range of constraints. We call the obtain pose data as 2.5D pose data. However, the 2.5D pose data can not better control the shadow puppet directly, due to the difference in motion pattern and composition structure between real pose and shadow puppet. To this end, the 2.5D pose data transformation is carried out in the implicit pose mapping space based on self-network and the final 2.5D pose expression data is produced for animating shadow puppets. Experimental results have demonstrated the effectiveness of our new method.

• Korean Journal of Heritage: History & Science
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• v.35
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• pp.236-282
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• 2002

Among elements of play, there are puppets performances and shadows performance which are replacing actors by puppets and shadows. Puppet performance is characteristic of expressing various movements and symbols at its conveniences by the reduced models of human form with various materials. Shadow performance is realized in various colors that cannot be discovered in other countries by expressing mysterious cubic effect in reflecting the light against various forms. Mansukjung Nolum is a unique shadow performance that has been inherited in Korea. There are found many shadow performances inherited in the northern Europe and South-eastern Asia. Recently the silhouette animation in application of shadow performance is made. In the northern Europe and South-eastern Asia, they performed in white and black color while Mansukjung Nolum is performed in natural colors. Since they adopted the leather materials for making puppets, their opaque feature cannot reflect the colored light. But in Korea we adopted the specially colored semi-transparent Korean paper, which gives the colored shadows to spectators. Mansukjung Nolum consists of three acts for arousing attention of fallen monks destroying the teaching of Buddha. Seosanbakchumji Nolum is a puppet performance inherited in a village in Seosan, Choongnam instead of wandering artists. The story and form of performance in Namsadangpae's puppet play is mostly similar to it, but it is woven by its villages natural environment and specific dialects, reflecting their consciousness in mind. The villagers made the puppets and manipulate them in communicating their wisdom of life between them. Parkchumji Nolum is a kind of integral art combining puppet manipulation, witticism, songs and dances. The hero of Parkchumji discloses the social and structural conflicts of feudalism, in arousing the spectators' rich attention of self-awareness and lessons.

• English Language & Literature Teaching
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• v.15 no.4
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• pp.313-330
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• 2009

The purpose of this study is to investigate the metatheatricality of Harris' plays marked by the device of 'play-within-a-play' - Androcles and the Lion, Arkansaw Bear, and Punch and Judy. In his metatheatrical plays Harris shows that characters perform for themselves and others. The framework that inner performance is going on within the outer frame play is formed on the stage, and this device reminds the audience in the seats that they are representing reality but that they are only in the middle of performing on the stage. Based on this point of view, this study explores fictionality of character, and play. In Androcles and the Lion, the most-performed children's play in America, the metatheatrical elements are shown in the style of commedia dell'arte, which attacks the rigidity of characters' identity in the Roman society. Another well-known children's play, Arkansaw Bear consists of realistic frame play and fantastic inner play in the mind of a girl, both of which function as a mirror each other and help to sustain aesthetic distance to death and reality on the stage. In Punch and Judy, the structure of frame play and inner puppet play reminds that what's going on in the play is just a fictional play and reflects history of children's puppet show. Harris' unique metatheatricality, the heightened awareness of his own artistic medium, offers children educational opportunity to learn about how a play is performed on the stage and contributes to convey mature theme through children's imaginary participation in the process of playmaking on the stage.

• (The) Research of the performance art and culture
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• no.39
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• pp.581-607
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• 2019

Noting that exorcism play and mask play are different in their ritual nature, this paper aims to examine their ritual through the social drama theory of Victor Turner, a cultural anthropologist. Turner views every incident in human history as a social drama and interprets it based on the four-step structural theory of breach, crisis, redressive action, and reintegration. In particular, he believes that the redressive phase takes place through a ritual solution rather than a legal or political solution in the village community. Based on such Turner's theory, Chapter 2 analyzes Yeonggamnori, Jeju's typical exorcism play, and explains the process leading to reintegration in accordance with peaceful ritual. Chapter 3 then analyzes the Puppet Play on the same principle and examines that redressive action is being resolved through a sacrificial ritual in the case of this play. Chapter 4 checks whether the results from the previous two plays show similar aspects in other traditional plays. To this end, the exorcism play will be analyzed for Jeju's Seocheon Flower Play, Junsangnori, Segyeongnori and Sanshinnori, while the mask play will include Bongsan Mask Dance, Yangju Byeonsandae Play, Goseong Ogwangdae and Hahoe Mask Dance. As a result of these studies, it is the main point of the study to prove that exorcism play and mask play are different in their ritual nature. However, this research is only in the stage of seeking differences in its ritual, and the review on the historical and social causes of differences is left as a research task at a later date.

• (The) Research of the performance art and culture
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• no.38
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• pp.297-347
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• 2019

Jie Jie Hao Yin 『절절호음(節節好音)』 is a script collection produced during the Qianlong's ruling Period which had one of the most flourished period of Qing Dynasty's Palace Drama. This script collection is consisted of 86 scripts of 6 Festival Court Plays: New year's day (元旦), Lantern festival(上元), Yanjiu festival(燕九), Snow appreciation(賞雪), Day of Kitchen god worshipping(祀竈), New year's eve(除夕). These scripts are effective records to study the New Year's Eve Drama of Qianlong Period. Jie Jie Hao Yin carry out the performances not only through Kunqiang (崑腔), and Yiyang Tune (弋腔), but also through various types of entertaining performances such as dance, masque play, puppet show, and story telling. Most of the songs were sung by various gods praising the era of peace as the holiday approaches. In the contents of revealing the luck to be brought by the holidays, it sought for the colorful transformations of stages through adding humoristique short stories or various feast genres in between the performance. It also tries to seek for diversities of stages through active application of acrobatics. It also portrays folk customs from BaiYunGuan's temple fair, Yanjiu Festival in YanBin, the Lantern Fair of Lantern Festival, and various activities of wet markets from New Year's Eve from diverse points of views. Especially through various shows and Chinese folk-art forms, the popular folk activities and entertainments near Beijing in the beginning era of Qing Dynasty can be observed. Jie Jie Hao Yin is a very important resource to look at the popular art activities of Beijing during Qianlong Period, and how the Palace culture accepted the folk cultures and applied to its own advancements.

• Korean Journal of Health Education and Promotion
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• v.2 no.1
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• pp.113-121
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• 1984

How can the educator help learners to learn? The old way was to tell learners as much as possible, passing on the educator's knowledge. Now the educator acts as a helper. She will organise experiences which allow the learners to do health behaviors, she may utilize instructional materials, she may write downsome questions for a group of learners to discuss. In all these ways the teachers is helping learning. Some educators feel that they must do all the talking themselves. They feel that they are not really teaching the learners some new information, but this is quite wrong. In fact if a educatorgives a lecture and learners do not learn, then the educator is talking not teaching. So the devlopment of instructional materials is much needed to be a learner education. And the selection of materials may be very important for the level of maturity of the learners in interest, complexity of ideas, opportunity for self-identification, speed of learners' ability to observe and length of concentration. Author studied the several instructional materials which can be utilized in the field of dental health education and also studied their values, limitations and considerations when they are used. The learning activities are poster, puppet, model, mock-up, specimen, flannel board, chalk board, bulletin board, psychodrama, role play, field trip, exhibition, laboratory method.

• International journal of advanced smart convergence
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• v.12 no.2
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• pp.102-107
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• 2023

Chinese shadow puppetry is an ancient form of drama with a long history. Known as the "mother of Chinese folk opera", it has rich cultural connotations and artistic value. At the same time, as a classic video game genre, side-scrolling games have many loyal fans around the world. However, in recent years, some previous entertainment cultures such as shadow puppetry are slowly disappearing. In contrast, video games play an increasingly important role in people's entertainment. Combining Chinese traditional culture with video games can be a great way to promote the preservation of these cultures. By making traditional culture more accessible and engaging, developers can help to ensure that these cultures continue to be enjoyed by future generations.The side-scrolling game is a classic game type, and it has many similarities with shadow puppetry. This paper will analyze the similarities and differences between Chinese shadow puppetry and horizontal version games, and try to explore how to organically integrate the two, so as to promote the inheritance and development of traditional culture, and promote cultural innovation and the development of creative industries.

• Archives of design research
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• v.17 no.2
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• pp.253-260
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• 2004

As the need for more variety of interactive media grows, alternative interaction methods beyond conventional ones such as mice and keyboards are vigorously explored recently. In particular, these new approaches are getting attentions because they can enhance the user experiences in the interaction. Howerver, since they are case-dependent and specific, it still becomes crucial to consider and evaluate the effects and possibilities of interactions. The study aims to explore the ways to design the interactions by applying Behavioral Prototyping Methods in the initial stage of design development, which it calls 'Interactive Prototyping Method'. With the case project, 'Shadow Theater', which is an interactive installation for children, children can play and participate in interactive story-making by wearing hand puppets, casting shadows of hand puppets, and interacting with virtual objects on screen. To explore and design the interactions of Shadow Theater at the initial design process, the study builds an interactive prototype which borrows puppet theater settings and lets children play with hand puppets and other objects. The session of user try-outs with the prototype help to understand what and how they interact with virtual objects, and to improve the interactions.

• (The) Research of the performance art and culture
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• no.18
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• pp.5-46
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• 2009

The origin of Korean mime is traceable to sacred actions of prehistoric age. There are materials about mime of this age in the archeological materials of this age, oral literature/myth, and written literature about this age. There were traces of the most original form of mime in primitive ritual of tribal nation age. The mimes of Samkooksidae/Tree Nation Age of Korea were presented to forms of Kamoobekhee(歌舞百戱)/Sanakbekhee(散樂百戱). We can discover traces of mime of this age in Hosunmoo(胡旋舞), Gwangsumoo(廣袖舞), Kweraehee(傀儡戱), Keeak(伎樂), Kummoo(劍舞) Muaemoo(無㝵舞), and so forth. Especially, Keeak in Beckjae was mask mime of Buddhistic contents. We can recognize that secular theatres were more diversified and strengthened than sacred thaetres in Nambukgooksidae/South-north Nation Age. According to these changes, there were many changes in the mime of this age. We can concretely find traditions of mime of this age in Cheryongkamoo(處容歌舞), Hwangchanmoo(黃倡舞), Taemyun(大面), Wuljen(月顚), Sodok(束毒)', Sanyae (狻猊), and so forth. Mimes of Koreasidae/Korea Age take diverse forms of puppet play, mask play, dance play. Established traditional mimes as Cheryongkamoo(處容歌舞) were widely disseminated in society. And dance plays of mime form as Hunsundo(獻仙桃), Pokurak(抛毬樂), Yunhwadae(蓮花臺)' were imported from Song Nation of China. Mime of Chosundidae/Chosun Age were developed with changes of theatre that were divided into Kyusickjeehee[規式之戲] as Kwangdae(廣大), Ser-in(西人), Joojil(注叱), Rongryung(弄鈴), Kendoo(斤頭) and Sohakjihee[笑謔之戱] as Soochuk(水尺) Sengkwangdae(僧廣大). Styles of theatre in this age were specialized into mudangkuk, Pungmoolkut, Inhyunguk/Puppet play, Talnoree/Mask paly, Pansori, Kungjoong Kamuakguk. According to this changes, mime of this age were specialized into diverse aspects. Korean mime were specialized into Kutnorum-formed mime, Inhyungnorum-formed mime, Jabsaeknorum-formed mime, Talnorum-formed mime, Kungjoongmuyong-formed mime, Pansori-formed mime, and so forth.