• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 2007.11a
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• pp.991-996
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• 2007

The Little theater in Sejong Performing Arts Center is a proscenium theater with 447 seats, which was built in 1978. The remodeling of the theater was decided in 2005 and acoustical design was conducted. Design guidelines were suggested based on the feasibility studies and acoustical measurement results. Target reverberation time was set at 1.2-1.6s with respect to the main performances. For the acoustical design, side balconies were added to increase the level of lateral reflections. Acoustic diffusers were designed and scattering coefficients were measured in a 1:10 reverberation chamber. From the results of computer simulation and a 1:10 scale model measurement, it was indicated that the new space will have RT of 1.2-1.6 s in middle frequencies when fully occupied.

• Korean Journal of Clinical Laboratory Science
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• v.47 no.1
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• pp.1-5
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• 2015

The nontuberculous mycobacteria (NTM) have been found in different environmental sources. They tend to colonize different body surfaces and secretions. The purpose of this study is to evaluate the presence of NTM in the theater environment. Fifty of Theater environment sample were examined using acid-fast stain, Lowenstein-Jensen medium culture, PCR and DNA-Sequencing. 4 of 50 samples were detected as NFB in AFB stain, L-J medium culture, PCR. and then, All of 4 NTM stains identified as Mycobacterium fortitum type in DNA-sequencing result.

• Lingua Humanitatis
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• v.8
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• pp.79-93
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• 2006

The modern play is going through a change that is differentiating it from the plays of yesterday. The importance of narration through language, specifically that of words spoken on stage as a means of communication is being replaced by images and minimalism of words. The narration that depended on spoken words today depends more on the images that are conjured on stage. This movement shows also the very development of stage and its craft in the domain of theater and especially holds true in the avant-garde theaters of today. The avant-garde theater, in trying to duplicate the reality does not confine itself to oratory rhetorics that we see in the traditional plays of the past but expresses itself by mimicking the reality to the utmost possible.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.101-131
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• 2013

This paper reviews the Insaenggeukjang's history and Insaenggeukjang's play. This paper has been written with a purpose to understand and to examine the members(actors and actresses), the structure, the plays, the performing works, the change process, and the meaning of Insaenggeukjang(life theater) and junggangeug(middle-theater) in 1930s. Insaenggeukjang is Korean theater for the drama in the second half of 1930s. In particular, Insaenggeukjang is a theatrical troupe that led Korean theatrical troupes in 1937 to 1938. This paper intend to examine Insaenggeukjang's history, activity, feature and works. I study Insaenggeukjang and performing works contained in the newspapers and the magazines in 1920-30s, and conference papers and theater-art books published recently.

• Proceedings of the Korea Society of Design Studies Conference
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• 2002.11b
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• pp.78-79
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• 2002

• Journal of the HCI Society of Korea
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• v.7 no.1
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• pp.1-10
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• 2012

This paper deals with the effects of seat position in the theater on viewers' visual fatigue, presence, and perceived characteristics. As a result of this study, there is a significantly positive effect of Dx(deviation from mean distance from the screen) and viewing angle on visual fatigue. Second, there is no significant effect of seat position on presence. Finally, there is a significantly negative effect of Dx and viewing angle on perceived characteristics. This means, as the author assume, the seat position in the theater during watching a 3D movie is important in case of visual fatigue and perceived characteristics. This paper provides an empirical result related to effect of spatial variable at 3D theater on 3D effect. The results could be helpful to establish spatial standard in 3D theater and 3D contents; furthermore, it could help to establish regulations of visual fatigue induced from 3D effects and indications for 3D efficiency.

• 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 the Korea Contents Association
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• v.19 no.11
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• pp.507-515
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• 2019

The positive effects of 'robot actor' born in the age of artificial intelligence on the characteristics of theater (comprehensive, liveness, duality, planning) is due to the collaboration with 'robot' engineers, which increases the comprehensive. It is possible to respond to it, so that various reaction are maintained in every performance, and enhanced illusion can be provided in 'robot' material works in which 'robot actor' plays the role of 'robot'. However, the power focused on the director can reduce the comprehensiceness, the synthesis is reduced, and the 'robot actor' cannot perform the sweat or breath of 'human actor'. In itself, duality is incomplete. In addition, there is a high risk that the improvisation within the scope of planning is likely to occur as a sudden reaction, which may limit the postponement of the 'human actor'. Based on these findings, 'philosophy', 'science' and 'art' can predict the development of artificial intelligence side by side. It is considered necessary to study to redefine the direction and identity of arts and theater that should be moved forward.

• Cross-Cultural Studies
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• v.33
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• pp.95-120
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• 2013

This study is about small theaters in Paris which produced the theater of the avant-garde(or theatre of the absurd) in the 50s. Paris was at the center of astonishing passion by small theaters in terms of spectacle. Small theaters actively embraced young actors/actresses, theater troupe and playwrights who created a new way to express their plays. They were mostly obscure but showed talent and genius. So playwrights came from abroad such as E. Ionesco, S. Beckett, A. Adamov and others were able to create a new type of comedy and experience theatrical realization. On the other hand, a great many drama creators such as R. Blin, N. Bataille, J.-M. Serreau, J. $No{\ddot{e}}l$ and others appeared. We focused on studying about life of small theaters in Paris as mentioned earlier. The space of representation were limited. They were mostly about ridiculing of dramaturgy of comedy and theatrical realization. The substandard situations and conditions of small theaters fell far short of advantages of spectacle. Some of the theaters - Babylone, Noctambules, Nouveau Lancry, Quartier-latin - have not been able to survive up to this day. Other Theaters - Huchette and Poche-Montparnasse - have been able to last by performing creative activities. The theaters of the avant-garde are historic places of Drama Art. It is quite astonishing that some of the monuments did not last any longer. These were the places where La Cantatrice chauve by Ionesco and En attendant Godot by Beckett were premiered. When will they be restored to their original state? Meanwhile, the theater of Huchette have performed the comedies of Ionesco for last 60 years without a break. It becomes the museum of theater of the absurd that is the cradle of modern play. In conclusion, a great many play creators like playwrights, directors and set designers saw the light of day because of small theaters when there were not enough support fund. Their passion and curiosity still make us look forward to emerging of new drama.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.171-196
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• 2012

In der vorliegende Arbeit wird die neue politische $M{\ddot{o}}glichkeit$ des Theaters untersucht. Wie die politische Propaganda, die Volk mit den absoluten Dogmen zu ${\ddot{u}}berzeugen$, immer seltner geworden ist, haben die alten Versuche des Theaters, ein Publikum mit einem Botschaft $aufzukl{\ddot{a}}ren$ und zu ${\ddot{u}}berreden$, ihre ehemalige ${\ddot{U}}berzeugungskraft$ verloren. In der heutigen Welt kann Theater leider nicht als eine moralische Anstalt mehr funktioniert. An diesem Endpunkt, wo Theater heute anzukommen scheint, gibt es aber auch Versuche, Theater auf neue Weise politisch zu machen. Es handelt sich hier $nat{\ddot{u}}rlich$ nicht um Wiedergabe einer ideologischen Diskurs mehr, sondern um die $St{\ddot{o}}rung$ der Wahrnehmung der Zuschauer durch das $Enth{\ddot{u}}llung$ des Anderen, den die System des Neo-liberalismus $verh{\ddot{u}}llt$. Damit der Anderen aufgezeigt wird, machen die verschiedene theatralische Experimente die $B{\ddot{u}}hne$ zu einem leeren Raum, indem sie den $gew{\ddot{o}}hnlichen$ dramatischen Rahmen zu $zerst{\ddot{o}}ren$ versucht. In diesem Raum wird die Vorstellungskraft der Zuschauer erst aktiviert, dadurch die Zuschauer selbst entscheiden $k{\ddot{o}}nnenn$, was sie verstehen $m{\ddot{o}}chten$ und wie sie sich dazu verhalten sollen. All diese Prozesse $m{\ddot{u}}ssen$ die Zuschauer auch als Individuum konstruieren. Die von tradtionellen Theater $getr{\ddot{a}}umte$ Zuschauergemeinschaft, die der Botschaft aus der $B{\ddot{u}}hne$ $gleichm{\ddot{a}}{\ss}ig$ zugestimmt hat, ist daher nicht mehr da. Im heutigen Theater handelt es sich um jeden Zuschauer, der selbst aktiv handelt. Solche Subjekt ist die echte demokratische, die in der heutigen politischen Wissenschaft mehrmals betont wird.