• International Journal of Advanced Culture Technology
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• 제9권3호
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• pp.62-67
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• 2021

This thesis examines the term a performer's sincerity taking into consideration issues of the bodily engagement and specifically addressing the place of a performer's respiration. The main emphasis in this research will be on the tendency to a performer's anticipation in contrast to a state of being in the moment on stage. Exploring and reconsidering the process of training the performer's body reminds us the significance of rigorous training in an appropriate way(s) within which the performer's body enables to meet the principles of acting with the nature of theatre as his/her body is responding and subordinating to the moment on stage. Here, this thesis argues that we need to acknowledge that initiating any bodily movement has to understood and then inhabited by negating a performer's active willingness where the source of energy, breathing roots, then transfers through the entire body rather than the mere use of the external forms or muscles. To be precise, maintaining the internal energy through the moment informs how the performer interrogates where and what s/he is in a state of whole body engagement preventing the performer's self-doubt about what s/he is doing in the next moment(s). The process should be considered as a qualitative bodily shift gazing into his/her inner territory to reach behind a linguistic and/or an intellectual sense. The research finding suggests that a performer's art is to allow the animating respiration in order to facilitate and enliven his/her entire body as oneness which in turn moves his/her scene partner(s) as well as the spectator in the here and now.

• International Journal of Internet, Broadcasting and Communication
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• 제16권2호
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• pp.68-74
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• 2024

This thesis explores the embodiment of a performer and a character/role specifically by examining what the term character is associated with and implies in a sense of the performer's bodily training through which what happens to their body. First of all, this research begins to investigate the relationship between a performer and a character centred on the performer's bodily experience through training and/or studio work. From a perspective of a performer, the concept and practical approach of a character itself essentially includes and signifies all the given circumstance of a specific play which has to be acknowledged then inhabited through the performer's body. That is, the internal structure of the text parallels with articulating and developing the spine of a specific character which take place as the substance leads the performer's body to an organic action and/or that of way corresponding to what the character needs and wants to obtain through a series of moment on stage. Here, we argue that the purposeful action as a process and result of applying/inhabiting the substance enhances the performer's body as the whole being participates in the given environment within which his/her body can also work or function by means of the integrated oneness. Second, in a manner of the most fundamental level, both the ethic of acting and the central task of a performer remind us the significance of allowing therefore experiencing subtle bodily movement, namely, responses to stimulus from in/outside of his/her body either visible or invisible on the one hand. At the same time, such a journey of self-discovery empowers the performer to explore new potential possibilities on the other. Finally, as the research finding suggests that these practical insights are necessarily need to be acknowledged as a point of the departure through which the quality of a performer's body is also cultivated by means of the changeable wholeness in order to being on stage.

• 복식
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• 제59권7호
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• pp.86-99
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• 2009

The audience of the performing arts enacted on the stage appreciate acting of the characters in a play to understand its plot, identify with the characters, and comprehend the message and subject matters of the play. Stage make-up in particular should assist audience in comprehending the story without overpowering or distracting the script. Stage make-up is a crucial means to visualize occupation, class, personality, and age of the characters. Thus it is an essential means in producing a high quality performance. The aim of the study is to examine character-emphasis make-up for a play by reviewing theories on the concepts and methods of the stage make-up. The methodology of the study was to analyze character make-up of the adopted play The Madwoman of Chaillot (La Folle de Chaillot) translated from the original French, as a case study. The technique and features of the character make-up of the play were examined, and functions of each factor of the character make-up depending on a role were also examined. The results of the study are as follows. The stage make-up for creating and expressing a distinctive personality of the characters in a play must integrate environmental factors external to a performance such as lighting and scale of a venue. Moreover the stage make-up must adopt and reconstruct internal factors of the play such as interpretation of the original work, subject matters, interpretation of the script, character analysis based on the discussion with a director, and design setting.

• 문화기술의 융합
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• 제5권2호
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• pp.233-238
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• 2019

본 연구의 목적은 태권도의 기술과 무대와 스크린에서의 배우가 연기를 할 때 공통점이 많다는 사실을 깨닫고 이를 응용하고자 하였다. 그 동안 이론분야의 연기술 함양에 대해서는 많은 선행연구가 있었다. 하지만 실질적인 연기술과 발전방안에 대해서는 다소 미흡하여 개선이 필요한 시점이다. 이는 신체이미지 창조를 이끌 실무적 경험의 부족으로 보고, 연기술의 변화를 획기적으로 시도할 구체적이고 세밀한 연구의 보완이 뒷받침되어야 한다고 생각한다. 이런 상황을 감안하여 이론적 분야와 병행하여 실무적 분야로 더욱 발전시키고자 태권도 기술을 통한 신체행동의 원리와 연기술의 발전방안을 제시하였다. 이러한 태권도기술을 활용한 연기훈련은 의미있는 연구이다.

• 한국항해항만학회지
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• 제46권2호
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• pp.73-81
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• 2022

Currently, shipping by sea is becoming common because of the low price and the safety of goods. The ship is designed as a larger vessel to meet the need of this development. In the design stage, the investigation of hydrodynamic forces acting on the ship hull is very important in predicting the ship's maneuverability. Given that the ship docks at various ports for loading or discharging goods, the ship usually operates in various loading conditions, depending on the site condition and other various factors. Hence, it is necessary to investigate the effect of the loading condition on the hydrodynamic forces acting on the ship, to most accurately determine the maneuverability of the ship. In this study, an experiment of Korea Autonomous Surface Ship (KASS) was conducted at the towing tank of Changwon National University to measure the hydrodynamic forces acting on the KASS. The loading condition considered in this experiment is determined based on the draft, which was decreased by 5% for each loading condition. The smallest draft is 85% of the design draft. The static test as Oblique Towing Test (OTT), Circular Motion Test (CMT), Circular Motion Test with Drift (CMTD) is performed in the various loading conditions. First, the hydrodynamic forces in the Oblique Towing test (OTT) are compared with the result of other institutes. Second, the hydrodynamic forces in various drift angle, yaw rate and loading conditions are measured. Finally, the influence of the loading conditions on the hydrodynamic coefficient is discussed.

• 복식
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• 제55권7호
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• pp.51-61
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• 2005

The purpose of this study is to identify function of make-up as an Important variable in terms of its influence to psychology of performers and outcome of their performance. From June to November 2004 performers in 4 types of fields, i.e., opera, musical, drama and dancing being performed in Seoul and Cheongju were chosen as subjects and totally 450 questionnaires were prepared and distributed and among them 416 were used as data for final analysis. For data analysis frequency analysis, factor analysis, T-test, one-way ANOVA, path analysis, chi-square test were conducted by means of SPS 12.0 and MOS 4.0 statistical programs and as ex post facto checking Duncan's multiful range test was conducted. Make-up is an important element in acting and it has great influence on level of psychological satisfaction of an individual. It was disclosed that psychological factor of concentration and lethargy have direct bearing on acting performance. In order to maximize actor or actresses performance skill perfect make-up is essential and role of make-up specialist can become a critical factor for inducing success in performance. Role and duty of make-up artists in terms of scope of their responsibility should be extended so that they may give their full support to the performers to be most successful in their performance.

• 한국의상디자인학회지
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• 제13권2호
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• pp.147-162
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• 2011

The performance-art costume is a tool for expression that can dynamically display the intention of a production. The purpose of this study is to examine the whole costume for performance arts targeting musical works, to which were added such elements as music, dance, and drama, among performance arts in several genres. This study aims to consider how the symbol contained in the costume was intended to be expressed by inferring a change in performance costume and character as the stage costume. Accordingly, the following research problems were established in this study. First, Which role does the costume play in performance art? Second, into which types can the performance-art costume be classified depending on the kind of performance art? Third, what is the expressive method for the performance-art costume? To examine the types of performance-art costume, the acting costume, the singing costume, the dancing costume and the rhythmic performance costume were considered. As a result, the performance costume can be seen to have been designed through the effect of a change in color by lighting, through the differentiation of character caused by excessive decoration, through the differentiation in material for free movement, and through symbolic expression.

• 대한조선학회논문집
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• 제37권2호
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• pp.77-87
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• 2000

항공기나 헬기에서 투하되어 수면으로 입수하는 경어뢰에 작용하는 충격력은 경어뢰 구성부의 손상을 유발시킬 수 있으므로 투하 속도 및 투하 고도를 제한하는 조건이 된다. 따라서, 투하 조건에 따라 입수 충격을 신뢰성 있게 추정할 필요가 있다. 본 연구에서는 선수부 형상에 대한 함수로 입수 충격을 근사적으로 추정할 수 있는 방법을 제시하고, 그 결과를 수치 해석 결과와 비교하여 타당성을 검증하였다. 본 연구에서 제시된 근사화 방법으로 추정한 입수 충격의 크기나 작용시간은 포텐셜 유동이나 점성 유동 해석에 의한 결과들과 비교적 잘 일치하므로 본 연구 결과는 초기 설계 단계에서 안전 발사 영역을 선정하기 위한 기법으로 유용하게 사용될 수 있다.

• 한국해양공학회지
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• 제31권5호
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• pp.340-345
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• 2017

It is important to predict the hydrodynamic maneuvering derivatives, which consist of the forces and moment acting on a hull during a maneuvering motion, when estimating the maneuverability of a ship. The estimation of the maneuverability of a ship with a change in the stern hull form is often performed at the initial design stage. In this situation, a method that can reflect the change in the hull form is necessary in the prediction of the maneuverability of the ship. In particular, the linear hydrodynamics maneuvering derivatives affect the yaw checking motion as the key factors. In the present study, static drift calculations were performed using Computational Fluid Dynamics (CFD) based on Reynolds Average Navier-Stokes (RANS) for a 40-segment hull. A prediction method for the linear hydrodynamic maneuvering derivatives was proposed using the slender body theory from the distribution of the lateral force acting on each segment of the hull. Moreover, the results of a comparison study to the model experiment for KVLCC1 performed by KRISO are presented in order to verify the accuracy of the static drift calculation. Finally, the linear hydrodynamic maneuvering derivatives obtained from both the model test and calculation are compared and presented to verity the usefulness of the method proposed in this study.

• Clinical and Experimental Pediatrics
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• 제49권6호
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• pp.581-588
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• 2006

Asthma is a chronic inflammation of the airway associated with increased bronchial hyperresponsiveness that leads to recurrent episodes of cough, wheezing, breathless, chest tightness. According the recent studies, repeated airway inflammation leads to structural changes so called 'airway remodeling' and associated with decreased pulmonary function. Airway remodeling begins form the early stage of asthma and the early diagnosis and management is very important to prevent airway remodeling. Medication for asthma can be classified into acute symptom reliever and chronic controller. Short acting beta2 agonist is a well-known reliever that reduced asthma symptoms within minutes. Controllers should be taken daily as a long-term basis to control airway inflammation. Inhaled corticosteroid(ICS) is the most effective controller in current use. However, in some patients ICS monotherapy is not sufficient to control asthma. In those cases, other medications such as long acting beta2 agonist, leukotriene modifier or sustained-release theophylline should be added to ICS, which called Add-on-Therapy. Combination inhaler devices are easy to use. Oral leukotriene modifier has a good compliance especially in children. Finally, as asthma is a chronic disease, the development of on-going partnership among health care professionals, the patients, and the patients' family is necessary for the effective management of asthma.