• The Journal of Art Theory & Practice
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• no.6
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• pp.101-121
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• 2008

An artist, Oh Yun(1946~86)'s theory of people's art during his final period is summed up in his essay 'Expansion of Artistic Imagination and World' (1985). Emphasizing the mystic and traditional characteristics of Oh Yun's artistic oeuvre during his final period, some critics focus on Oh Yun's experience of medical treatment and shamanistic custom at Jin Do island, and his belief in Jeung San Do, the dao of Jeung-san, the Ruler of the Universe. However, they forget the practical intention and implication of his theory of art during his final period, which aimed to overcome the contradiction of revelation itself. Oh Yun's essay criticized the loss of artistic imagination and the ignorance of traditional culture that resulted from the elevation of science to a religion, and insisted that the stereotyped idealism, scientism and elitism in art should be overcome in order to recover the full reality in realism and to continue traditional cultures. The essay is comprised of 18 paragraphs. Oh Yun criticized monochromatic art, conceptual art, hyper-realistic art, objet d'art, and neo-dadaist art, saying that they were simply mechanical forms of modern art derived from scientism and a fetishistic lens culture. In addition, he criticized naturalism in art, which had continued as a tendency in the development of western art, for the same reason. He pointed out that even the world of realism had been diminished by elite stereotypes and diagrams. He declared the need to overcome the imitation of shells or stereotyped propaganda, and recover full realism, which seems to have started with a reflective examination of current problems in 'Reality and Utterance', in which he participated. Especially, he thought that universality and the extension of full realism could be achieved by building on the views of traditional cultures, which is meaningful. This logic is same as the theory of epic theatre that Bertolt Brecht(1898~1956) has developed under the ancient Greek masque and Pieter Bruegel the Elder(1525~69)'s story-like picture style. The universality of realism and the extension of acquisition to include incantation art, rather than move toward incantation art, is what Oh Yun intended to propose in 'Artistic Imagination'. This attitude is same as Bertoh Brecht's aesthetic viewpoint in the 1930s. But regrettably, Oh Yun's style wording, which seems covert and far-sighted, is often misunderstood as 'mysticism'. In the flow of people's art in the 1980s, Oh Yun was a traditionalist in a narrow sense, and an realist in a broad sense. However, his critical mind, which comprehends tradition and reality, was attempting to expand universality and extend full realism, and this attempt found many sympathizers and had an influence on the next generation of people's artists, such as "Levee" which is field-centered, to which we should pay attention. This means that while their works thought about 'tradition', we should be careful not to connect them with 'aesthetic conservatism' or 'classical art'. This is the why the meaning of Oh Yun's theory of art during his final period should be closely examined again.

• The Journal of the Korea Contents Association
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• v.7 no.10
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• pp.311-320
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• 2007

This study is to analyze the present condition of internal dance troupes' web sites contents and through this study, we aim at suggesting beneficial plans not only for constructing better web sites and contents for national dance troupes but also for contributing to the development of national dance troupes. In order to achieve this study's object, we selected eight dance troupes that run their own web sites and examined their contents. the conclusions are as following. First, among internal professional dance troupes, Korea National Ballet, Seoul Ballet Theatre and Universal Ballet Company offer the best contents at their home pages and they have the most lively community concerned activities at their internet web sites. Second as for the web sites of municipal(provincial) dance troupes, those of Gyeonggi provincial dance troupe, Daejeon municipal dance troupe, Busan municipal dance troupe, Seoul municipal dance troupe Incheon municipal dance troupe have lots of contents briskly carried on, but those of the others need complementary measures. Third, Seoul ballet theatre and Universal Ballet Company offer lots of information about their activities to satisfy their customers and make the maximum use for public relations ; performance news, the introduction of their members, the story of ballet press reviews, new letters. On the other hand, at the web sites of Metropolitan Dance Theater Provincial Dance Company, there are much fewer contents about their activities which doesn't lead customers to visit their webs.

• The Journal of the Korea Contents Association
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• v.16 no.3
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• pp.536-545
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• 2016

Most universities have been concerned about Liberal Education; whether is it on universal truth, or on training job-specialists? In consequence, the curricula have been reformed and promoted diversely. In this aspect, has been developed as convergence education. I selected two easy and short texts and tried to make the students practice and memorize the dialogues as many as possible. At the end of the class, the students presented given assignments, with theatrical performance. This study carried out the research of students' presentation and theatrical performances on the basis of group study, together with a survey of the results of questionnaires and lecture evaluation. Therefore it was a exploratory study to check out significance of variables through the correlation analysis. The students' questionnaires showed the improvement of their English ability, together with their knowledge about literature and drama, cultivating humanities through the theatrical performance. It may be said that has achieved multi-functional effects of English class converged literature, theatre and humanities even for one semester.

• Journal of Korean Academy of Nursing
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• v.12 no.1
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• pp.39-52
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• 1982

Nosocomial infection is important in the management of the nursing care and has been found to be related with the airborne microbes contamination. The purpose of this study is to identify the differences of the airborne microbes between hospitals, nursing units, days and times and to identify the difference in the types of microorganisms between hospitals, nursing units, days and times. This study was conducted from May 25, to July 10, 1981, according to R. Koch's methods for quantative samplings of airborne microbes and the results of this study were reviewed in a statistical method. The following conclusions were obtained: 1. There was a significant difference in the types of airborne microbes between 8 hospitals (F=5.0491, p<0.01) 2. There was a significant difference in the types of airborne microbes between surgical, medical, nursery, 1.C.U., operating theatre and outpatient nursing unit. (F=2.1764, p<0.05) 3. There was not a significant difference in the types of airborne microbes between Monday, Thursday and Saturday (F= 1.6365, p>0.05) 4. There was a significant difference in the types of airborne microbes between AM 7 : 00, AM 11：00 and PM 3 : 00. (F=7.2951, p<0.01) 5. 4061 colonies were divided into more 48 types and the classification was as follows. gram positive cocci (2024 colonies) 49.3% gram positive bacillus (1211 colonies) 29.8% gram negative bacillus (577 colonies) 14.2% fungus(200colonies) 4.9% gram negative cocci (41 colonies) 1.0% other's(8 colonies) 0.3% 6. There was a significant difference of airborne microbes between 8 hospitals. (F=7.7943, P<0.01) 7. There was not a significant difference of airborne microbes between 6 nursing units. (F= 1.8461, P>0.05) outpatient nursing unit : 12.6 colonies surgical nursing unit. 10.4 colonies Medical nursing unit : 9.8 colonies nursery nursing unit : 9.4 colonies operating theatre nursing unit：8.2 colonies Intensive care nursing unit : 7.8 colonies 8. There was not a significant difference of airborne microbes between Monday, Thursday and Saturday. (F=1.4371, p>0.05). Saturday : 11.0 colonies Monday : 9.1 colonies Thursday : 9.1 colonies 9. There was a significant difference of airborne microbes between A. M. 7 ; 00, A. M. 11 : 00 and P .M. 3：00 (F=7.6658, p<0.05) P. M. 3 : 00 : 12.2 colonies A. M. 11 : 00 : 10.0 colonies A. M. 7 : 00 : 7.1 colonies.

• (The) Research of the performance art and culture
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• no.18
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• pp.379-412
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• 2009

According to "Jinjak-yigwe(進爵儀軌)", a special banquet was held at Yungyungdang(演慶堂, a kind of royal theatre) to celebrate the 40th birthday of Queen Soonwon(純元王后) in 1828. This banquet is famous for the presentation of nineteen new Jungjae(呈才) repertoires that the Crown Prince Hyomyung(孝明) created. In order to explore the theoretical basis for the reproduction and presentation of Yungyungdang(演慶堂) Jinjak(進爵, a type of royal banquets), in this article, the imagination and experience of the presentation of Yungyungdang Jinjak are pursued, while focussing on audience's reception. In Yungyungdang Jinjak, King Soonjo(純祖), Queen Soonwon and the prince were the special audience; they participated in the procedure of Ye(禮, etiquette of ceremony) and also were considered as the characters of certain repertoire of Jungjae. Hyomyung arranged the spectacles from the myths of Taoist gods and immortal hermits, as well as historic episodes of the past emperors' elegant tastes of music. These mythic and historic images lead the audience toward the imagination and experience on the transcendental world. Hyomyung, managing the administration as the representative of King Soonjo, tried to show absolute royal authority through the splendid performances of Yungyungdang Jinjak, so as to overcome the politicaly difficult situation. He set up the sacred world for his father King Soonjo, distinct from the secular ordinary world, and emphasized his position as the bridge between the two sides. He expressed his filial duty through the devotion of performing arts to display absolute royal authority.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.85-125
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• 2012

Geun Hyung Park is one of the playwrights who consistently pursues his unique world of play. One of the characteristics that is constantly discovered in Park's plays is the motif of 'family.' Park chooses family as the motif in most of his work. Park particularly emphasizes 'family life' rather than 'individual life' to focus on the internal problems of families. Therefore, the motif of family in Park's plays takes a very important position in the content and theme. The Korean society imposes unique value on families and possesses a strictly obstinate family ideology. Park observes distorted family relations or individuals who cannot be happy within their families to identify the problems related to the family ideology that is deeply rooted in the Korean society. This is one of the important backgrounds for which Park is constantly dealing with 'family life.' This study selected five of Park's most famous plays to specifically examine Park's critical understanding of family ideology. First, his criticizes extreme family egoism by depicting a family that cannibalizes people to keep the family full. Park chooses 'absurd time and space' and the extreme subject of 'human flesh' to warn his audiences about the awful consequences of family egoism. His , which is the only piece that deals with family history among the five pieces selected, criticizes Korea's unique family-centered ideology by humorously depicting the history of the Cho family that is all about maintaining and worshipping the its clan. He reveals the unethical and hypocritical attitudes of the Cho family for the audiences to reconsider the family-centered ideology of the Korean society. In , he talks about the son and the father who lose his ethical authority and fail to perform his paternal responsibilities to criticize the traditional family ideology of patriarchism and suggests the pessimistic future of patriarchism. contrasts a blood-related family with an irresponsible father and a quasi-family to criticize the identity of blood-related families. In , Park depicts a 'smelly house' of a family in agonizing relations to deny the family myth and the maternal myth. He clearly shows how the ideals of family myth and maternal myth are distant from the reality. In result of this study, Park's criticism of family ideology appears in various forms. He comprehensively criticizes both the general family problems and the unique family issues of Korea. The family ideology of Korea is currently undergoing a radical change. It has been long since the traditional family ideologies have exposed problems to show the signs of crisis. Also, there have emerged various forms of families, including single-parent families, one-person families, adoption families, and multi-cultural families. In this respect, Park's critical understanding of family ideologies allows you to see the obvious family forms from a new perspective and greatly contributes to awakening the essential questions about families. Park's work is noticeable among the various artistic and literature pieces that deal with family issues because of his extraordinary skills to capture the key issues inherent in the problems of family ideologies.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.421-446
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• 2012

The purpose of this paper is to shed light onto the historical significance and limitations of the Tsukiji Little Theater's modern performances. The Tsukiji Little Theater holds a position of great importance to the history of both Japanese and Korean modern theater. Some, however, are under the completely opposite impression. There are also mixed opinions about whether the Tsukiji Little Theater is a "model example" of the modern theatrical movement or a "bad example". Based on this controversy, we look into the definitive characteristics of the Tsukiji Little Theater based mostly on "the controversy over translated foreign plays", "the controversy of foreign plays versus original plays", "the value of kabuki" and "Shinpa as a rival". This paper looked into the differences in controversy over translated foreign plays in the Tsukiji Little Theater and the controversy in existing translated foreign plays. It mostly looks at the "casuistry of foreign plays" and the "cultural engineering theory of foreign plays"to get a grasp on the controversy surrounding existing translated foreign plays. Meanwhile, the "internally critical meaning" towards the original plays of renowned writers was strong in the controversy of foreign plays in the Tsukiji Little Theater. Kaoru Osanai defined the 1920s as a dark period, and persisted that because of the activity of the Shingeki movement, foreign plays were needed instead of low-level original plays. This study examines the characteristics of original plays and foreign plays publicly performed at the Tsukiji Little Theater to analyze the "controversy of translated foreign plays versus original plays". The Tsukiji Little Theater mostly put on shows with a strong sense of resistance or that defied the old times. This caused there to be a lot of emphasis put on the rebellious mindset towards old conventions and ideologies for most of the plays, both foreign and original, and the problem arises that little mind was paid to the integrity or beauty of the works. In looking at the "value of kabuki", this paper looked into Kaoru Osanai, who was deeply involved in kabuki actors. He evaluated traditional Japanese arts highly not because of the literary value of their scripts, but because he recognized the value of how they were performed. In order to create a new spectacle, music, dance and mime was taken in from countries around the world, and kabuki was regarded highly as a means of expression on stage. Finally, we also examine the recognized reasons for treating Shinpa as a rival. There is a relationship between these reasons and a complex about the audiences they drew. The Shinpa performances always had many spectators and were successful, but those at the Tsukiji Little Theater were so unpopular with the public that it was hard for them to financially run their theater group. The empty seats in their theater constantly made the modern intellectuals in the Shingeki movement feel inferior.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.359-397
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• 2014

This paper describes dramatherapy with a bulmina nervosa patient. She was in her early 20s and has been under the various psychotherapies for cure of deep depression since 2005. We had 24 sessions and 3 persons - the patient, the therapist, and the assist-therapist- participated in dramatherapy. I found there's a big collision between her important roles in the course of initial interview and diagnosis. Those roles are 'a good daughter of mom' and 'an independent adult'. Therefore I defined her bulmina nervosa as 'an symbolic behavior repeats compulsively the failure of separation from her mother.' And I set the general goals, the separation from her mother, the awareness and expression of negative emotions, and the diminuation of overeating and vomiting. To attain these object, we had many different dramatic experiences in dramatherapy. We made a self-portrait, the mask of bulmina nervosa, family sculpture, figure work, the past I and the present I, psychodramatic scene and several stories. In order to objective assessment, I used behavioral observation and 6PSM(6 Pieces Story Making) analysis. First of all the most noticeable change was a rapid decrease in over-eating and vomiting. Before the dramatherapy she had overeaten 30 times per week. At the closure it has fallen off to 1 time per week. Another behavioral changes were shift of outward appearance, not going church, working for living, and having a date with only one. She made 3 stories on 1th session, 13th session, and 23th session. And I comparatively analysed those stories with both qualitative and quantitative method. For qualitative analysis, I classified 5 structures according to the substantial similrarity. On protagonist structure, there's no difference. Three protagonists are dead things. The type of task structure is changed from an escape, a traveling, to metamorphosis. The type of obstruction structure is changed from the protagonist to an outside object. The type of closure structure is changed from an exaggerated happy ending, sad ending to probable happy ending. To quantitify the aspects of transformation, I developed an assesment tool using likert scale. It is composed of 4 sub-categories-reality testing, imagination, ego-strength, optimism problem-solving. In reality testing category, a shift of score was 9-11-15, imagination 2-5-5, ego strength 3-2-2, optimism 6-3-7, and total score 20-21-29. This change of score reflects the growth of problem solving capacity. Viewed in this light, dramatherapy with this girl was successful on the whole. The thing had significant effect on it was psycho-dynamic approach focused on separation from her mother and defence mechanism to avoid negative emotion. And assessment method used in this case will be full of suggestions to researches to come.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.57-87
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• 2014

This article re-reads the messages of the text, 'Incendies', the uncanny actions and the strange words of protagonist Nawal, through the ideas of Jacques Lacan, particularly his notion of sexuation with posing questions about most of the previous reviews which are based on femininity or motherhood. For Lacan, masculinity and femininity are not biological essences but symbolic positions, and the assumption of one of these two positions is fundamental to the construction of subjectivity. So 'man' and 'woman' are merely signifiers that stand for these two subjective positions. Each side is defined by both an affirmation and a negation of the phallic function, by both an inclusion and exclusion of absolute non-phallic jouissance. Unlike the man, the woman is 'not-all' identified with the phallic function, demonstrating the undecidability and impossibility of totalising the woman. Although the woman is bound to do castration through being subject to the phallic function, she is also related to the signifier of the barred Other, S(Ⱥ) which stands for a gap or lack in the Other. Thus, as a consequence of not being entirely within the symbolic, she has an Other Jouissance, Feminine Jouissance, because it's possible to face emptiness of the Symbolic, the Real only in the place of the woman for new Ethics/Politics. This paper finds that Nawal is not completely defined by the phallic function and she is a subject of death drive that practices the signifying cut with passing through the fantasy as a screen for the desire of the Other. Nawal is situated on the position of the woman as 'not-all' unlike masculinity in Lacanian sexuation. This article shows that her strange acts are love, that is the true ethical acts. Above all her acts are related to the ethics of pure desire beyond the ethics of the Good of Aristotle. In that sense the character of Nawal of 'Incendies' is similar to the one of 'Antigone' as a character in all aspects. In psychoanalysis they all are true subjects that face a void, emptiness in a symbolic structure. They assume underlying impossibility of being/the Symbolic. They don't represent the images of compromise and peace in the normally accepted meaning of the word. A love that they show is not compassion but blind recognition of the excluded, embracing uniqueness of the excluded. This thesis finds resultingly Nawal's acts which can't be understood from viewpoint of feminism practice the ethics of the real, the politics of the real.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.89-128
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• 2014

De notre temps, nous faisons face ${\grave{a}}$ un changement du $th{\hat{e}}atre$ dans son ensemble. Le $th{\acute{e}}atre$ contemporain tente de se $d{\acute{e}}marquer$ des autres formes artistiques, mais aussi des formes $litt{\acute{e}}raires$, lorsque la tendance est ${\grave{a}}$ la fusion des genres. Il existe ainsi de plus en plus de $th{\hat{e}}atre$ ${e}xp{\acute{e}}rimentaux$, $n{\acute{e}}s$ sous le nom de $th{\acute{e}}atre$ anthropologique, $th{\acute{e}}atre$ sociologique, $th{\acute{e}}atre$ ethnologique, $th{\acute{e}}atre$ ${\acute{e}}pist{\acute{e}}miologique$ ou $th{\acute{e}}{\hat{a}}tre$ interculturel. La $m{\acute{e}}thodologie$ doit elle s'adapter ${\grave{a}}$ cette tendance de fusion? Au lieu de trouver une $m{\acute{e}}thode$ d'anlyse de chaque "nouveaux genre" $n{\acute{e}}$ de la fusion, nous nous interrogeons sur la $m{\acute{e}}thodologie$ pour ${\acute{e}}tudier$ le $th{\hat{e}}atre$ dans son ensemble. Si une telle $m{\acute{e}}thodologie$ d'analyse existait, quelle serait la $diff{\acute{e}}rence$ avec la $m{\acute{e}}thodologie$ $d{\acute{e}}j{\grave{a}}$ existante? Et si elle n'existait pas, quelle serait la meilleure $m{\acute{e}}thodologie$ $adapt{\acute{e}}e$? Nous $consid{\acute{e}}rons$ la $m{\acute{e}}thode$ d'analyse de la didascalie comme nouvelle $m{\acute{e}}thodologie$ $adapt{\acute{e}}e$. En effet, la didascalie $conna{\hat{i}}t$ sans cesse des $m{\acute{e}}tamorphoses$ dans $l^{\prime}{\acute{e}}criture$. De nombreux $th{\acute{e}}oriciens$ ont $d{\acute{e}}velopp{\acute{e}}$ des $m{\acute{e}}thodes$ d'analyse afin de mieux comprendre les diverses formes de $th{\acute{e}}atre$ comtemporain et ses didascalies. Notre travail est de rassembler les ${\acute{e}}tudes$ des $diff{\acute{e}}rents$ $th{\acute{e}}oriciens$ et de les ordonner ; afin de proposer un outil d'analyse $adapt{\acute{e}}$ pour $l^{\prime}interpr{\acute{e}}tation$ des $pi{\grave{e}}ces$ du $th{\acute{e}}{\hat{a}}tre$ contemporain.