• 디자인학연구
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• 제16권4호
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• pp.345-354
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• 2003

그리스의 극장은 인공적으로 구축된 최초의 극장이며, 로마의 극장은 그리스의 것을 모방하여 독창적 형태로 발전시킨 것으로 이 두 극장의 형태와 관습이 현대에 이르기까지 많은 영향을 끼치고 있다. 두 극장을 비교해 볼 때 다음과 같은 차이점을 발견할 수 있다. 극장이 설립된 목적과 기능 면에서 볼 때 그리스 극장은 종교적 목적에서 기인한 것이나 로마의 극장은 오락적 목적에서 기인한 것이다. 극장의 형태 면에서 볼 때 그리스 극장은 완전 노천 구조로 위엄 있고 웅장한 것이었으나 로마의 극장은 무대에 지붕을 포함하고 있었으며 화려하고 장식적인 것이었다. 극장의 성격 면에서 볼 때 그리스 극장은 민주적이었으나 로마의 극장은 계급적이었다. 그리스, 로마극장은 그 시대의 사회적 특성 및 연극적 특성에 따라 서로 구별되고 있지만 그리스 로마 고전극이 유럽 연극에 있어 하나의 원천이 되고 있는 것처럼 이 두 극장도 역시 하나가 되어 현대 극장의 원천이 되고 있다.

• 건축역사연구
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• 제17권2호
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• pp.67-81
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• 2008

Aldo Rossi explained Roman Forum as a significant urban artifact, because Roman Forum analogically showed not only an image of Roman Empire but also a figure of primitive design for its region. Thus the comparison and analysis between characteristics of Aldo Rossi's architectural works which are based on the theory of 'Analogical city' and the forums, the urban artifacts, was proceeded in this study. Consequently, it was discovered that Aldo Rossi had used his analogical thinking from the forum for his architectural languages such as gable roofs, square windows with depth, columns and so on. His analogical use of organizing spaces, such as courtyard type and pillar corridor type, has also shown that their types came from forum spaces. His analogical aspects of the forum: a space where urban images are analogically formed; were expressed in the 'Theater of Science' with the urban architecture form as the actor and the Theatre as the stage for analogical urban performances. Nevertheless, the expression of primitive design which divides the Roman Forum from other forums was actualized in 'the Theater of the World'. He not only analogically used types from Roman Forum in architectural design but also used boat in Water space, which decided the lifestyle and culture of Venice even before the civilization, to express the primitive design of Venice. Consequently, Aldo Rossi, by aiming the severance from the tradition, provided the possibility of explaining the newest modem type within the historical meaning by forming type which finds its continuance in history through 'the Theater of the World' and through analogical thinking along with the level of modern culture, to our urban architectural atmosphere that has lost its historical meanings.

• 미술이론과 현장
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• 제5호
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• pp.83-107
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• 2007

The continuous struggle to establish virtual reality on the stage during the history of Western Theater has been centered upon the development of scenographic setting and devices. It began with the Classical Greek drama where the place of performance became separated from the place of the audience. These two places were united as the orchestra - the place of the Dionysiac festival in the earliest stage of the Greek theater. And the skene, once a storage building outside the theatrical area, became an essential factor of the scenic space to provide illusion of the other world where the actors dwell. As a natural consequence it followed the structural change of Roman theater where the stage became a high and wide platform and the skene converted into the permanent stone scaenae frons. Such a tradition of the Classical theater was revived in Italian Renaissance and Baroque theater, which succeeded Vitruvius' concept of scaenographia as well as the vestiges of Imperial Roman theater. The cases of Serlio, Palladio, and Andrea Pozzo reveal the way how Western theater conjured the fictional space by traditional representational scenery, including architectural background setting and painted devices. It resulted in the physical and emotional division of actors' space and audience's space. The rejection of representational scenery upon the stage by avant garde artists like Edward Gordon Craig in the early years of the twentieth century should be interpreted as an attempt to recover an emotional attachment of actors and the audience, which was the case of Greek antiquity. This new scenogrpahic endeavor in modern theater is to challenge the main purpose of traditional scaenae frons to establish the boundary of the illusional 'scene' of performance where the audience should remain as passive spectators, and instead, to try to unite the action of actors and the audience upon the stage as a 'place'.

• 한국실내디자인학회논문집
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• 제27호
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• pp.104-110
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• 2001

This study examines the space composition and character of German Modern Theater barre on the theory of typology and interpreter in the european traditional classic theater. Contemporary multi purpose theater and public space is considered as a symbolic representation of the classic theater's organization. In the historical theory, modern theater was a common tool and best systeme in reflecting people's lives. This role of greece-roman theater as life cycle and new style of theater permanent design has get its value with the population increase and the urban centralization of the city and urban common sense. This study attempts to reevaluate the need of space typology in modern society through a critical review of theater and its use as a open space design. Content analysis was used to discuss the topics of this study including the historical background of the theater, the relationship between amphitheater and modern theater design, and the role of scenery, auditorium and its impact on urban environment. The scope of the study is limited to the comparison of classic theater and german modern theater space use program from the space critic and sociologist. Today the concept of theatrical space is altered with the typology of classic and interpreter space. This study provides insights for the future implications of theatrical space in developing public space for its a new definition as cultural representation.

• 복식
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• 제48권
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• pp.53-70
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• 1999

The theatre costume in English Renaissance which is scarce in its historical materials can be inferred and imaginarily reconstructed from classifying it according to types of theatre costumes and considering its specific form in that age. The history of fashion could be also approached in the light of theatre costumes and it might be some help to the present theatre costume. Thus the purpose of this thesis is for contributing to the study of theatre costume by inferring the English Renaissance theatre costume from classifications and research of its pattern in detail. This thesis consists of the overview of the periodical background of English Renaissance and then analysis of the stage surroundings ar that time and classification of the theater costume acording to the types and finally inferences of the pattern of forms of the theatre costume. The theatre costume in English Renaissance can be divided into these group:(1) for foreigners such as Roman Turk Spanish and Jews (2) for supernatural beings such as a nymph god, goddess, ghosts, and witches(3) for professionals such as a clown, a clergyman. doctors and senators(4) for cast of animals such as a lion a bear and pigs. In the Elizabethan period theatre costumes were used together with Elizabethan costumes on the stage. Generally the theatre costumes in the age were typically made of very expensive materials and spectacles to the audience and compensating for the poor stage settings.