• Journal of Korea Game Society
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• v.16 no.5
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• pp.149-158
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• 2016

This research is about development and usability test of 'Paldokangsan4' which is a serious game for the elderly to improve their physical and mental health. This game is the next version of last 'Paldokangsan3' developed in 2013. Its motion capture interface 'Kinect' has been stopped for production that we have to develop the next version with 'Kinect2'. We added a personal ID system to accumulate palyers' game histories, and let the player know the the current score comparing to the personal average score every time. Also we added real mart background to the traditional old market background of the game as well as a tutorial level to learn how to play the game personally. In 2016 Play Expo, we have installed and demonstrated it and gathered opinions of 40 volunteers in questionnaire. The result of their analysis showed that we could find the possibility of beneficial effects for the elderly following the last version.

• (The) Research of the performance art and culture
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• no.32
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• pp.71-106
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• 2016

This study analyzes the current work of the traditional theater around 'Back Parkcheomji(season2)' of theatre troupe 'Saninomou'. 'Back Parkcheomji(season2)' has proved that it is possible modernization while at the same time preserving the traditional theater. As a result, 'Back Parkcheomji(season2)' regained the spirit of contemporary social criticism and reality inherent in Kokdugaksinorum. The performance are beyond the traditional production method, which has created a new performance aspects. 'Back Parkcheomji(season2)' has created the puppets like this 'Kimga' 'Seweolho' 'Ryukbang' 'Chourani'. Traditional and creative dolls has criticized our modern society at the same stage. On the other hand, plays such as tightrope, Pungmul, Burna confirmed the spirit of Namsadangpae, and gave a dramatic fun. 'Back Parkcheomji(season2)' has dual stage. The dual stage will produce a magnificent spectacle, and has provided a variety of attractions. 'Back Parkcheomji(season2)' re-created the traditional theater of Namsadangpae in vivid contemporary version. The performance has made the opportunity to think again about the value of classical and allowed to recognize the new phase of classical theater.

• (The) Research of the performance art and culture
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• no.20
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• pp.5-30
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• 2010

It has been diversified and serious attempt to establish the identity of Changgeuk, but it is still independent dramaturgy or the current unformed progressive art. In this situation, exploring works of the identity of changgeuk that is base on the performed individual and specific works in the title of Changgeuk is needed. The 80s and 90s Heo, Gyu was leading an active life as a director who was responsible for directing of Changgeuk. He dramatized Siljeon Pansori -which is a group of Pansori missing text- as well as 5-remained Songs in Pansori and he presented a number of creative Changgeuk works on stage. Especially, the completion of dramatizing 5-remained Songs in Pansori under the name of 'Wanpan Changgeuk -which means full version performance without omit-' is the one of his big achievement by performing "Heungbojeon" on the stage 1982 and "Jeokbyeokga" 1985. The purposes of this research are confirmation of Heo's direction of the formulation and considering its characteristics & significance through 'Wanpan Changgeuk' which written by Heo. Heo was a practical play who was interested in the subjective formulation of national culture and creative transmission for Korean traditional performance. He tried to formulate Changgeuk to a representative performance of Korea. In the process he pointed out those problems, (1) interpretation of a work problem, (2) actor's creative problems, (3) structure problem of theater for Changgeuk. He indicated that the other challenges are to use of the stage & device, to overcome sentimentalism, to stylize acting, to improve own quality, to control the speed and length of the song, to choose the suitable musical accompaniment, to create new repertories problems, and etc. Changgeuk is classified in 3 group by origin, (1)dramatizing of 5-remained Songs, (2)dramatizing of 7-missing Songs, (3)creative dramatizing. It contains all of 3 types that Heo's work. The dramatizing of remained 5 Songs are the great importance among those works. Heo hoped that Chaggeuk has become the most representative art work of Korea by performing 'Wanpan Changgeuk' compiled heritage of Korea's outstanding artistic achievement. The characteristics of 'Wanpan Changgeuk' can be summarized following four. (1) Directing attitudes that emphasizes tradition, (2) Accepting the elements of traditional performance actively, (3) Valuing the classy and ethic, (4) Emphasizing humor and active utilizing of the secondary characters. Heo's 'Wanpan Changgeuk' shows a peak of the artistic level which Changgeuk can be reached. He want to make Changgeuk a Korean representative artistic performance by compiling Pansori heritage and accommodating Korean traditional performance. Heo continued his effort to present Pansori's authenticity and to dramatize from beginning to end without missing. It shows very well that 'Wanpan Changgeuk' takes 4~5 hours for playing. It looks Heo's achievement in the 'Wanpan Changgeuk' influenced Changgeuk significantly since then. Heo's 'Wanpan Changgeuk' is matrix of 'Wanpan JangMak Changgeuk' attempted in the 1990s. Especially, their intent is consistent to synthesize texts and to show all the virtue of Pansori. But 90's 'Wanpan JangMak Changgeuk' aim for large stage, fancy device & costume and variety contents compared with 'Wanpan Changgeuk'. Recently, producers have tried not to make a impressive Changgeuk but to make a interesting one. They usually organize performance within 2 hours and prefer orchestral music to its unique sound. In those point of view, it seems that Heo's idle in 'Wanpan Changgeuk' has become one of target to conquer in these days.