• Journal of Information Technology and Architecture
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• v.9 no.2
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• pp.143-154
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• 2012

With the realization of the importance of the NWI, iterated by the Cheonan Ship sink and the YP-Do shelling, this thesis separates the NWI from the peninsula, regarding it separate from the Korea Theater of Operations, and suggests the method to establish NCOE with consideration to the characteristics of separated theater as well as the current situation. Although the NWI holds strategic value, systematical NCOE of surveillance and reconnaissance system, command and control system, and precision strike system is not yet established. Pertaining to this issue, Architecting was utilized to identify improvement measures and of the identified improvement measures, improvement on the "strike on nK hardened artillery sites with K-9 Self-Propelled Artillery in correlations with theater ISR" shows greatly improved strike effects when conducting simulations based on the Operation-Plan Analysis Model. Such a method of NCOE establishment will serve as a standard model for military force building and operation execution system for separated theater operations such as the NWI.

• The Journal of Art Theory & Practice
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• no.5
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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'.

• (The) Research of the performance art and culture
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• no.18
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• pp.201-221
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• 2009

This paper is a historical study on mime or pantomime in the chinese theater. What is the origin of chinese mime? This is a very difficult question to answer. But I thought its early model can be found in actions of ancient actors who are believed to precede any genre of theater and actually I could found a very significant proof in historical records which have been ignored generally. It is an episode of Youmeng(優孟) in Chu(楚) dynasty. According to this episode, the history of chinese mime has lasted at least over 2600 years. In my opinion, chinese mime had been organized in ritual genre in early theater and its development had been mostly based on the jiaosehangdang-system(脚色行當制). Most chengshi-movements(程式動作) of zuo(做) and da(打) have been organized in recent several centuries. But a further study on them shows us that the real origin of them is the ancient dance wu(舞). Afterwards the wu(舞) separated into two types of dance the so-called wenwu(文舞) and wuwu(武舞). So we can say that wenwu(文舞) and wuwu(武舞) had a direct influence on most chengshi-movements(程式動作) of zuo(做) and da(打).

• Journal of Distribution Science
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• v.12 no.4
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• pp.73-83
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• 2014

Purpose - This study aims to classify and extend the consumer value of movie theaters into various values such as functional value, emotional value, social value, epistemic value, and conditional value based on the theory of consumption value by Sheth, Newman and Gross (1991). It also aims to verify the path structure of consumption value→customer satisfaction→behavior intention of movie theaters to confirm its generalization. Research design, data, and methodology - This study was conducted by collecting data on Kimpo university students from various areas in Incheon, Northern Seoul, Ilsan, Kyonggi Province, and Kimpo City. The survey was conducted by distributing 280 survey papers from Oct. 5 to 15, 2013 and collecting 238 of them. The final analysis used 208 questionnaires, after excluding 30 invalid responses. The statistical analysis of this study used the SPSS 19.0 statistics package. Results - The results of the survey are as follows: First, consumption values of movie theaters are classified into the following five groups: functional value, emotional value, social value, epistemic value, and conditional value. This study verified that consumption values play a role as a previous variable of customer satisfaction. Second, functional value, emotional value, and epistemic value have positive effects on customer satisfaction. On the other hand, social value and conditional value do not affect customer satisfaction. Finally, customer satisfaction has a positive impact on behavior intention. Theater users have an intention to re-use or recommend the movie theater they used when they are satisfied with a movie theater's physical environment and services. Conclusions - This study can provide academic and practical implications as follows based on the results mentioned above. First, academic implications can be found in that consumption values of movie theater users are classified into five values based on the theory of consumption value by Sheth et al. (1991). In the previous study, the service quality of a movie theater was studied based on the service quality of service encounters and a physical environment→customer satisfaction→behavior intention path structure. However, this study was verified by a consumption value→customer satisfaction→behavior intention path structure to classify consumption value, but not service quality or perceived value of quality, to confirm this generalization. Second, practical implications can be found in that the relative impact of consumption value of movie theaters on consumer satisfaction showed that functional value was followed by epistemic value and emotional value. In the previous study on movie theaters, previous variables of customer satisfaction were separated only by functional service quality including service encounters and physical environment; in some other studies, quality of service encounter had a direct effect on customer satisfaction. Accordingly, a marketing manager of a movie theater should develop various differentiated services by reflecting not only functional value such as service encounters and physical environment but also epistemic value and emotional value.

• Cross-Cultural Studies
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• v.46
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• pp.281-296
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• 2017

Andrei Amalrik's plays are a unique phenomenon in the 70 years' history of Soviet drama. Half a century after the Soviet theater had intentionally forgotten its own achievements of avant-garde dramaturgy in the early 20th century, his bizarre plays suddenly emerged in the Soviet theater environment, completely separated from contemporary Western practices of the experimental theater. Surprisingly even now, Amalrik's plays have almost been forgotten not only in Russia but also by foreign Russian literary scholars. Amalrik's autobiographical essay is his only book published in Russia after the collapse of the Soviet regime. There is no collection of his works, and reevaluation of his work is not found even in Russia. However, Amalrik is a writer who should get a proper evaluation. The purpose behind studying his plays is to restore the tradition of Russian grotesque-absurd dramaturgy, which has been inherited from Gogol, Khlevnikov, Mayakovsky, and Oberiu. In this paper, we will analyze the mechanism of composition in Amalrik's plays.

• The Journal of the Korea Contents Association
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• v.19 no.8
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• pp.359-369
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• 2019

This research suggests video solutions and efficient implementations for low-budget performances. This study adopts Millumin as a mapping server, which reflects the character of small theatres with a lower budget that doesn't use more than four projectors in a show. By comparing pros and cons of media servers, the study discovers how to employ an appropriate server as well as to participate in a pre-video production stage, which increases the artistry of directing and reduces unnecessary graphics. Meanwhile, with the participation of an interpretive programmer, this study suggests a way to manage the rehearsal time and to increase the artistry of directing. In addition, this study analyses the relationship between the video's visual motive source in the story's development, crisis, climax, twist and the provided narrative based on "Trace U the musical (2018)", by this analyzation, the relationship between storytelling and the video is fully shown. A visual motive is related to the action of actors, the movement of dancers, the music, the lyrics and the lines. Furthermore, the provided narrative confirms that the existence of an actual relationship with the turning point of the plots, characters' emotion, suggestions of sub-plot and the twists of own story. In conclusion, it implies a video of small theatres can not be separated from the probability of the narrative.sh an efficient ad execution strategy that reflected the characteristics of mobile devices.