• Journal of Korean Theatre Studies Association
• /
• no.52
• /
• pp.159-188
• /
• 2014

Under the influence of postmodernism, modern writing tends to refuse an immediate conveyance of messages achieved by linear, unified writing. Such writing does not attempt any social participation and has no leading ethics, offering diverse perspectives. It simply relies on material property ignoring the 'here and now'. This discussion depends on the sensuous immediacy of works that are pure and uninterpretable, causing the "death of author" phenomena. Although the time was late, since the 1990s, discussion and work on deconstructive theater has been executed in the Korean theater world. This deconstructive work was achieved when lineal narratives were shattered through the shocking insertion of fragmentary episodes and imagery. Moreover, such plays were shocking presentations of severance in conversation; lack of communication; loss of pride and love; and a world devastated by violence and madness. In the 2000s, such a movement helped form a new paradigm in the theater through reinterpretation and parody of traditional dramas, while drawing general attention to postmodern theater. However, as the problems of postmodern theater are perceived through study, the limit of plays with a postmodern tendency is pointed out: such plays merely display 'deconstruction'. This thesis will examine reflective thought on postmodern theater seeking "deconstruction without alternatives" and the aesthetic concept of "le politique" by Jacques Ranciere. It will also look through the overlap of images as interval-estrangement, "lettre morte", and simulacre representing mise-en-scene aesthetics weaving "political writing". This study is meaningful in that it tries to extend the new aesthetic horizon of Korean theater, examining in 2009 and by Koh Sun-Woong in 2011, directed by Park Chung-Hee in 2010 and directed by Park Keun-Hyung in 2009.

• Proceedings of the Korean Society for Quality Management Conference
• /
• 2006.04a
• /
• pp.95-99
• /
• 2006

Resulting from a development of Korea's film industry, the number of the audience who visits a movie theater is increasing. so, interest in indoor service which is provided in the movie theater is also increasing, and there are needs for raising a movie theater's competitive power and an endeavor to offer a higher standard of service to customer. thus, this study will define service quality factor of a movie theater and provide ways of improving service quality by analyzing the effect of service quality on customer satisfaction and re-visit intention.

• Fire Science and Engineering
• /
• v.16 no.2
• /
• pp.43-50
• /
• 2002

21C, Multiplex Cinema Theater is made from movie industry developed and become a place where we can spend our free time and consuming. But, theater users, who are many and unspecified persons, are short of information on the Multiplex Cinema Theater, so that they may be injured or killed at the occurrence of fire accident. Particularly, Multiplex Cinema Theater is a place that underground space or top floor in highrise building had many people in theaters. However, this problem is difficult to solve that to protect human being and properties at the occurrence of fire accident in the Multiplex Cinema Theater, In order to overcome such problems, Multiplex Cinema Theater need fire protection solutions facilities concerning particulars to pay attention to the safety on a fire and evacuation. This study analysed Multiplex Cinema Theater concept and computer simulation for risk point.

• Journal of Families and Better Life
• /
• v.21 no.2
• /
• pp.39-48
• /
• 2003

The purpose of this study was to examine the impacts of educational theater on 5-years-old children, and more specifically, to find out whether the effects of the theater on children's peer acceptance and self-esteem are different by peer social statuses, that are, popular, average, and neglected/rejected Fifty seven children participated in this study and were evaluated with the Sociometric Test (Coie & Dodge, 1983). The experimental subgroup (N=28) participated in the programmed educational theater for 9 sessions. The dependent variables were measured by the peer acceptance items of Sociometric Test as well as the Self-Perception Profile based on SPPC (Halter, 1985), and the same tests were administered twice, before and after the experiment. Covariance analyses showed significant differences between experimental and control groups, for the children in the neglected/rejected category, in peer acceptance and social acceptance dimension of self-esteem. Global self-worth among children of popular and average categories, and total self-esteem among children of average category were also improved by the theater program. These results imply that educational theater programs can be used effectively to promote young children's social adjustment.

• Korean Institute of Interior Design Journal
• /
• v.14 no.6 s.53
• /
• pp.112-119
• /
• 2005

Virtual reality(VR) is the technology that makes a user regard being in virtual space generated by computer as in the real world. Mainly, it has been studied about the three senses which are the sense of vision, touch and hearing in the five human senses. Through that, it is applied to the system making all the senses in the human body real. Even though the design idea of theater is brought to that of simulation theater, there are not many similarities between them and not general design rules yet. For making a better situation, in cooperation with a domestic company making a motion simulator for one or two person by itself, I have considered the minimum conditions and formations of the simulation theater being widely useful in the buildings of general commercial spaces from the environmental viewpoint, and basing on that facts I try to make some sorts of fundamental design types so that they are more available than those in the past. In this research, I have set the three types of simulation theater, the 50 seats of motion simulator for one person, the 20 seats of motion simulator and the 50 seats for two persons, in my researching range. Moreover, regarding the size of the simulation theater, I put the best specifications in order and also put them together, and then with making standards able to be reflected on the design plan, I have researched it for the purpose of the accumulation of skill in the construction of the special theater. Here, the design rule I suggested might be a design standard that it will be thought useful widely.

• The Journal of Art Theory & Practice
• /
• no.5
• /
• pp.83-107
• /
• 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'.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.4
• /
• pp.157-164
• /
• 2019

If a drama play is interested in recreating the play text on stage, the post-drama play aims at a drama that has been liberated from the play text. In this process, the boundaries created by drama theater are dismantled. Actors and audiences, fiction and reality, theater and non-theater, works and events, language and non-language are the names of typical boundaries. The demolition of these boundaries is an opportunity to restore the festival character of ancient Greek theater, which was forgotten by drama theater. This has led to the dismantling of language-centric and play-centricism, which has dominated the play since Aristotle, and has led to a new play. If language-centered, play-centricism has brought about the crisis of drama, the post-dramatic play dismisses them and finds ways to communicate with the audience as new cultural content. The method is found above all in the restoration of dramaturgy. This is because the post-drama plays are more dependent on theatricality than literature. The demilitarized nature of post-dramatic play with enhanced theatricality will be a stepping stone to popularization, and this shows the possibility of post-dramatic play as cultural contents.

• Journal of Information Display
• /
• v.12 no.3
• /
• pp.153-158
• /
• 2011

This study was conducted for the purpose of evaluating the impressions gained by the members of the audience who have seen contents in a dome theater, based on their seating positions. Dome Theater Gaia provided the environment where the contents for evaluation were to be presented, and enquete (survey) was used as the investigative method. The survey results showed that the presentation of wide-viewing-angle three-dimensional (3D) contents proved effective in enhancing the 3D effect and the presence in a dome theater. Moreover, the study results confirmed that in relation to the impression evaluation of the contents for different seating positions, the optimal seating position varied according to the presentation method of the 3D and 2D contents.

• Lingua Humanitatis
• /
• v.2 no.1
• /
• pp.239-258
• /
• 2002

The paper develops the arguments as to how one should perceive modem theater and how one should categories it, not to mention how one may identify the traits of modern theater. The Contemporary Theater has changed in a way that it is no longer possible to define the genre relying on conventional definitions that we associated with it in the past. The paper in this regard proposes a perspective which by addressing the evolutions that one has seen in the theories of reception and other relevant literary fields may define the very nature of the theater as we Cow it today. The paper is largely based on the aesthetics of reception and the objectivity theory which is based on the decontextualisation, recontextualisation and contextextualisation method that is being more and more commonly used in the field of literary academics of today. The relevancy of this paper rests with the hypothesis that it is by and through using various theories of reception that it is the only true solution as to defining and identifying the characteristics of modem theater.

• Korean Institute of Interior Design Journal
• /
• v.16 no.6
• /
• pp.3-10
• /
• 2007

It has been happened many changes in our country on construction and culture with the economy and society, after the efflorescence. And it was provided the rapid growth in the theater space which is the center of culture with advance in economy and the society. The change of theater space with improvement of theaters gives a chance to develop arts of culture and crowds satisfied there demands. Accordingly this research is finding the origin of movie theaters and clarifies the change of space characteristics. Accordingly, movie theaters have been introduced and improved the age which is defined from modern to present. Moreover the cases are selected by Korean Film Council and Chronicle of Korean Architectural Culture. The characteristic of theater space is made an analysis by consist and form of space, and this research is let us know the theaters space has been changed and developed due to ages. Besides, this analysis research would he made theaters more active and culture spaces more improved in the future. The deepen research and analysis should be kept studying to make theater space improve and rev up.