• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.1 s.149
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• pp.94-105
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• 2006

This study is focused on the man's costumes of Sadangpae(the troupe of performers) shown in Gamrotaenghwa (감로탱화) during the late Chosun dynasty. Originally Gamrotaenghwa was used as a painting for a Buddhist praying ceremony, 또Young-ga-cheon-do-je(영가천도제). It shows us the lives of the commoners in those days. Gamrotaenghwa reflects the changes of costume style in the late Chosun period. The early styles of po(포, coat) for male performers in the 17th century were changeui(창의) and dopo(도포), which had the front panels(seop) overlapped deeply and sleeves that got wider as time passed. After the 18th century, Male performers wore a simpler coat such as sochangeui(소창의), which had narrow sleeves and long slits on the both sides. Especially the coats of acrobats were fastened on the center front with buttons. Heuklip(흑립: black hat), somoja(소모자: small cap) and jeonlip(전립: wool hat) were used as hats for the male performers. Originally, heuklip was the hat that represented the noble status: yangban(양반). However, it was popularized among the commoners in the late Chosun period. As time passed on, the heuklip became more popular and its shape also changed. Somoja and jeonlip were shown throughout the entire Gamrotaenghwa. Unlike heuklip, those were common hats for Sadangpae. The costumes of entertainers shown in Gamrotaenghwa were very similar to those of the commoners. However, it seems that there were some differences of the costumes depending on the roles they performed.

• The Journal of the Korea Contents Association
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• v.15 no.9
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• pp.47-60
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• 2015

Original play of theatrical troupe Yeonwoo Stage has gone through history represented by (i) the development period of "research on play," (ii) the resistance/growth period of "play movement," (iii) the prime/segmentation period of "metaphor for reality," (iv) the crisis/transition period of "rediscovery of reality," and (v) the challenge/advancement period of the "active development of repertoire." "Collective creation" based on the singe-representative system was a solution to overcome difficult circumstances, crisis facing the theatrical troupe and the lack of resources in the development period and the resistance/growth period, "co-creation" based on the five-representative system, the two-representative system, the system of an operation committee consisting five members, etc. in the prime/segmentation period and the crisis/transition period, and "planning and production" based on the single-producer system in the challenge/advancement period. "Collective creation" system was operated by the entire theatrical troupe, which was led by a director; "co-creation" system was operated by performers, who were directed by a director (-playwriter); and "planning and production" system was operated both internally and externally and was led by a producer. During its long history of developing original play, Yeonwoo Stage has (i) expanded the scope of Korean-style narrative, (ii) succeeded collective creation culture to the next generation, (iii) followed the trend of the times, (iv) attempted to attract popular empathy.

• English Language & Literature Teaching
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• v.13 no.3
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• pp.117-132
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• 2007

Playwright Eugene O'Neill's expressionistic text-based approach to The Emperor Jones, with an emphasis on fixity, was at odds with African American actor Charles Gilpin's improvisational performance technique, stressing rupture, spontaneity, and discontinuity. The contemporary avant-garde performance troupe The Wooster Group likewise produces subversive and interrogative forms of identity in performing the play, which challenge the normative approach to gender, race, and an imagined orientation. The historical foundation of subversion and destabilization laid by O'Neill and Gilpin were manifold in the Wooster Group's production of The Emperor Jones, and not only formed a backdrop to it but also played a central role in the group's representation of race and even gender on the stage. In this essay, I use O'Neill's play, The Emperor Jones, a crucial example of racialized fantasies of identification, to explore how the modernist stage through the performances of Gilpin and The Wooster Group constructed racialized subjects of both its performers and audiences. Gilpin and the Wooster Group's strategies each shared a similar complexity in the portrayal of black identity in performance. Offering an examination of how ideologies of race and gender overlap in The Emperor Jones, I hope to show how each performance signifies a range of subversions and differences simultaneously and sometimes oppositionally that needs to be explored both holistically and in detail to offer a fuller picture of these remarkable attempts. Through this approach, I examine Gilpin's creative adaptations of O'Neill's text and illuminate how it is that the Wooster Group's appropriative use of blackface in their performance has come to gain critical acceptance.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.155-164
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• 2019

This paper studies the possible ways to make the most of Namsadang Nori Deotboegi which has been designated as National Intangible Cultural Property No 3 as well as UNESCO World Intangible Cultural Heritage in training actors. Considering the fact that all six parts of a Namsadang performance were included as Important Intangible Cultural Properties, the historical and traditional value of the itinerant performance troupe is significant. The improvisatory characteristics of witty remarks, the 'Korenness' of the movement and breathing in Deotboegi dance, the spatial awareness realised through performing witty remarks with musician as well as the 'Koreaness' in the emotions conveyed are the particular values of Deotbeogi for training actors. The required ability to listen to the co-performer and not to anticipate what might be said next helps the performer do develop a strong focus to be able to stay in the moment. The heightened awareness of the body, and the ability to control it as well as the awareness of the space including the co-performers are helpful in the context of both traditional and contemporary performance.