• Journal of Korean Theatre Studies Association
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• no.40
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• pp.239-275
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• 2010

Cette ${\acute{e}}tude$ a pour but de proposer une $m{\acute{e}}thodologie$ de critique avec la $s{\acute{e}}miotique$ ouverte. La critique de $th{\acute{e}}{\hat{a}}tre$ commence ${\grave{a}}$ lire le $th{\acute{e}}{\hat{a}}tre$, l'analyse et juge son valeur. Il arrive souvent qu'on juge avec intutition. On dit que c'est une critique d'impressionnisme. Cette critique est subjective, mais pas objective. La $s{\acute{e}}miotique$ de Saussure offre la $m{\acute{e}}thodologie$ scientifique ${\grave{a}}$ la critique. A $c{\hat{o}}t{\acute{e}}$ de la critique d'impressionnisme qui est subjective, la $s{\acute{e}}miotique$ peut expliciter la raison objective. On ${\acute{e}}tait$ admiratif devant sa scientisme, pourtant $apr{\grave{e}}s$ quoi on critique sa non-$subjectivit{\acute{e}}$ et sa non-$historicit{\acute{e}}$. Dans l'opposition de $l^{\prime}objectivit{\acute{e}}$ et de la $subjectivit{\acute{e}}$, on tente de rechercher un model $int{\acute{e}}gr{\acute{e}}$ dialectiquement entre l'impressionisme(subjective) et la scientisme(objective). Pour cela, on doit aux Ecrits de linguistique $g{\acute{e}}n{\acute{e}}rale$ ($publi{\acute{e}}$ en 2002 chez Gallimard). Ces Ecrits nous aident ${\grave{a}}$ amener la $s{\acute{e}}miotique$ $ferm{\acute{e}}e$ sur la $s{\acute{e}}miotique$ ouverte et ${\grave{a}}$ $red{\acute{e}}couvrir$ la $pens{\acute{e}}e$ de Saussure. Ils nous font ouvrir un nouveau champ de recherche pour la $s{\acute{e}}miotique$ ouverte. L'essentiel de la $th{\acute{e}}orie$ saussurienne du signe $d{\acute{e}}pend$ de l'arbitraire et du circulaire du signe. On $red{\acute{e}}couvre$ la notion ${\acute{e}}largie$ du signe, dans Ecrits de linguistique $g{\acute{e}}n{\acute{e}}rale$, contre le courant majeur de linguistique et de structuralisme. Cette notion s'y focalise, ${\grave{a}}$ la valeur, ${\grave{a}}$ la $relativit{\acute{e}}$, ${\grave{a}}$ la $diff{\acute{e}}rence$ et au $syst{\grave{e}}me$. Avec elle, on tente d'adopter la $s{\acute{e}}miotique$ ouverte pour rechercher une $m{\acute{e}}thodologie$ de critique qui se veut objective et ${\grave{a}}$ la fois subjective. Il s'agit d'une difficile combinaison de l'impressionisme et de la scienticisme. Pour cela, la $m{\acute{e}}thodologie$ se $d{\acute{e}}veloppera$ en trois ${\acute{e}}tapes$. $1{\grave{e}}re$ ${\acute{e}}tape$: c'est lire le $th{\acute{e}}{\hat{a}}tre$ comme un signe total pour 1er jugement d'impressionnisme. $2{\grave{e}}me$ ${\acute{e}}tape$: c'est retrouver sa structure invisible dans la $relativit{\acute{e}}$ des signes. $3{\grave{e}}me$ ${\acute{e}}tape$: c'est juger, dans leur $relativit{\acute{e}}$, comment les $d{\acute{e}}tails$ de signes se fonctionnent. C'est lire les $d{\acute{e}}tails$ de signes et puis $r{\acute{e}}affirmer$ le jugement en $1{\grave{e}}re$ ${\acute{e}}tape$. Selon les $derni{\grave{e}}res$ deux ${\acute{e}}tapes$, on pourra comparer le premier jugement (impressif) et le dernier jugement (objectif), et enfin s'assumer comme critique. Selon la $m{\acute{e}}thodologie$ $propos{\acute{e}}e$, on pratique la critique sur ${\acute{e}}crit$ par Jean Genet, et mise en $sc{\grave{e}}ne$ par Lee Youn-Taek et par Park Jung-Hee. Pour la critique intertextuelle, on la fera en comparant les deux spectacles avec la $pi{\grave{e}}ce$ de Jean Genet. $D^{\prime}apr{\grave{e}}s$ la comparaison, Lee Youn-Taek met en $sc{\grave{e}}ne$ avec $fid{\acute{e}}lit{\acute{e}}$ la structre et les signes de $d{\acute{e}}tail$ de l'auteur, Park Jung-Hee change sa structre et ses signes pour mettre en $sc{\grave{e}}ne$ la $pi{\grave{e}}ce$ de Genet. Ils se $diff{\grave{e}}rent$ l'un et l'autre: Lee incite le discours de la classe sociale dans le spectacle, et Park y incite le discours du $d{\acute{e}}sir$. La $diff{\acute{e}}rence$ des signes dans la $relativit{\acute{e}}$ apporte la $diff{\acute{e}}rence$ de la signification de discours $th{\acute{e}}{\hat{a}}tral$, et enfin se font changer les significations de deux spectacles.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.5-47
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• 2013

Among the styles of performing arts, perhaps the genre that has attracted the largest audience would be musical. Popularity of musical has brought diverse changes in our performing arts market, and, upon emerging another musical genre, called 'Korean Traditional Musical Comedy,' it has been well-received by the audiences. 'Korean Traditional Musical Comedy' is a word that are formed by merging two other terms such as 'Korean Traditional Music' and 'Musical (Comedy).' In the meantime, however, it has yet some problems in order to be defined as the genre that has concrete concepts. It is because the term such as Korean Traditional Musical Comedy was created being closely associated with a marketing purpose rather than a term that defines the characteristics of a genre of performing arts. Although this new musical genre has drawn attentions of many audiences by adding 'Musical Comedy' to 'Korean Traditional Music' that was not quite popular to the public, it still does not have any established forms so that there is a fine line between "Korean Traditional Musical Comedy" and another genre like traditional style folk opera ("Changgeuk"). Looking at the characteristics of the musical work called 'Korean Traditional Musical Comedy, in general, first of all, it is a performance where music and drama are played. Here, the distinctive characteristic of this musical is that 'Korean Traditional Music' is sung. And the kinds of Korean traditional musics being sung are mainly Pansori (dramatic story-singing) and folk-songs, and, in most cases, Korean traditional musical instruments are being used as accompanying music. In this paper, the researcher investigated the aspects of experiment centering around Korean Musical Group, Taroo. These days, various experiments has been repeated not only for the works of Taroo but other musical work presently called 'Korean Traditional Musical Comedy' also. Having encompassed overall performance factors including use of musical instruments, dance, acting, materials for drama as well as music in drama, the researcher has gone through experiments repeatedly. Meanwhile, however, the subject matters that make 'Korean Traditional Musical Comedy' mostly attractive to the audiences are music and songs or sounds. ["Sori" also called "Chang" (唱)] Particularly, under the current situation of our musicals, the role of "Sori" is extremely important. The factor that plays absolutely most important role in acceptance and transformation of "Sori" is the created Pansori. Since the created Pansori is composed with new rhythmic patterns and new narrative poems, it tells the present story. Also it draws good responses from the audiences owing to easy conveyance of dialogues. And, its new style brings diversification to organization of musical instruments, so then this leads to the arrangements of music for Korean traditional music instruments, as well as instrumental music ensemble, orchestra, and jazz band, etc. Likewise, upon appearing creative musics in 'Korean Traditional Musical Comedy,' professional music and vocal compositions have begun to emerge naturally. And, the song specialist and writer, of course, staffs including direction, lighting, and sounds, etc are required. That is, professional composition method are forced to be introduced to all areas. Other than this, there are many music pieces which are based on our unique songs and sounds ("Sori") and such traditional factors as use of lead singer for ceremony or chorus, and the method that puts weight on Pansori. Accordingly many things accomplished. However, it is required that 'Korean Traditional Musical Comedy' go through numerous discussions and more experiments. Above all, the most important things are the role of actor and actress, and their changes, and training of actor and actress further. Good news is there are good audience responses. 'Korean Traditional Musical Comedy' is an open genre. As musicals are divided into several domains according to the characteristics thereof, 'Korean Traditional Musical Comedy' will be able to show its distinctive features in various styles according to embodiment.

• (The) Research of the performance art and culture
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• no.32
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• pp.651-700
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• 2016

The keyword of contemporary art in 21st is audience participation. London has emphasized the importance of audience participation since 2000. The National Theater of London is trying a new method, which is live performance to search new audiences. Also, they are trying to cross the boundaries between 'stage' and 'spectator'. This leads the other theaters to search new audiences and try new genre of performance. Therefore, they establish a new form of performance, which is that audience actively moves and find a new story in a theater. For example, "environmental theater" is the one. This theater escapes from the traditional stage, but it is based on "site-specific performance." Lots of new forms of theater have emerged. In this study, I focused on one of these new forms of theater, which is "Punchdrunk." "Punchdrunk" was founded by few students graduated from London University's Laban Center in 1999. They started at an empty stage in small school with only three audiences. 7 years after, it became one of major theaters in London. 10 years after, it showed their performances in the United state. Since then, their performances in New York have never been stopped. More strikingly, for last decades, this theater has been always full. In this study, I reasoned that the key of "Punchdrunk" success is audience participation. Therefore, I investigated the features of Punchdrunk theater and how they engage their audience in this performance. In this study, I focused on one of their performances, . Also, I categorized the audiences in three different ways: narrative visitor, walking visitor, and engaging visitor with mask. Three-part transition of Disney Theme Park from Louis Marin was applied to study "narrative visitor." For "walking visitor", Normadism from Gilles Deleuze was applied. For "engaging visitor with mask", Voyeurism was applied.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.117-157
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• 2014

Cette ${\acute{e}}tude$ est pour l'objectif de rechercher sur $l^{\prime}{\acute{e}}criture$ $th{\acute{e}}{\hat{a}}trale$ de la mort et le deuil dans les $th{\acute{e}}{\hat{a}}tres$ chez Young-sun Yun(1954-2007) ${\grave{a}}$ travers des textes dramatiques ${\acute{e}}crits$ par $lui-m{\hat{e}}me$, qui ${\acute{e}}tait$ aussi le metteur en $sc{\grave{e}}ne$ depuis 1994 dans le $th{\acute{e}}{\hat{a}}tre$ contemporain en $Cor{\acute{e}}e$. Cette $th{\grave{e}}se$ est $commenc{\acute{e}}$ ${\grave{a}}$ ${\acute{e}}crire$ pas pour apprendre ses textes mais pour comprendre la ralation entre les textes et les ${\exp}{\acute{e}}riences$ de l'auteur. Ici, pour cela, j''ai $analys{\acute{e}}$ ses 4 $pi{\grave{e}}ces$ $th{\acute{e}}{\hat{a}}trales$ produites ${\grave{a}}$ cette ${\grave{e}}poque$, dont (1994), (2000), $d{\acute{e}}biteur$, mon $p{\grave{e}}re$ est $progress{\acute{e}}$ de cancer>(1996), (2005), en referrant les rapports entre $l^{\prime}{\acute{e}}criture$ dramatique et de la mort et le deuil de $p{\grave{e}}re$. Cette ${\acute{e}}tude$ $pr{\acute{e}}suppose$ un certain situation psychologue de l'auteur sur la mort et le deuil de personnage '$p{\grave{e}}re$'. L'auteur dramatique et le metteur en $sc{\grave{e}}ne$ du $th{\acute{e}}{\hat{a}}tre$ Young-sun Yun propose certaines orientations de la mort de son $p{\grave{e}}re$ dans ses texts dramatiques: le sentiment de victime sous le pouvoir absolu de son $p{\grave{e}}re$. Chez lui, ${\acute{e}}crire$ le texte dramatique, c'est transmettre les amertumes d'esprit et une forme de $r{\acute{e}}flextion$ vis-${\grave{a}}$-vis de la relation avec son $p{\grave{e}}re$ surtout le $probl{\grave{e}}me$ $inachev{\acute{e}}$ de deuil. c'est-${\grave{a}}$-dire fournir des sentiments coupables et des $anxi{\acute{e}}t{\acute{e}}s$ qui $r{\acute{e}}sident$ au fond de son coeur, tout au long de sa vie. Pour cette objecif, il est ${\acute{e}}vident$ qu'il faudra toujours partir du texte et y revenir. J'ai $essay{\acute{e}}$ de ne pas $r{\acute{e}}duiser$ $l^{\prime}{\acute{e}}tude$ des textes au respect myope des paroles des personnage et rester la $r{\acute{e}}flextion$ pshchologique sur la mort et le processu de deuil. J'ai $essay{\acute{e}}$ d'appuyer mes remarques sur les sources $autoris{\acute{e}}es$: psychanalytiques en la $mati{\grave{e}}re$. C'est pourquoi j'ai cru devoir $pr{\acute{e}}senter$ cette recherche de l'analyse sous la forme d'une $synth{\grave{e}}se$ des principaux concepts de la $th{\acute{e}}orie$ de la pshchologie moderne qui permettent l'analyse des textes dramatiques.(Dany Nobus, David K. Switzer, Fritz Riemann, Giles Deleuze, Sigmund Freud, Julia Kristeva) Et auiss j'ai $essay{\acute{e}}$ de explorer l'imaginaire des paroles dans les textes en ses rapports avec l'auteur et les personnages et entre les personnages. Ainsi conçu, j'ai $analys{\acute{e}}$ les formes de paroles en ce qui concerne la mort de $p{\grave{e}}re$ et le deuil. Cette $mani{\grave{e}}re$ s'est $r{\acute{e}}v{\acute{e}}l{\acute{e}}e$ efficace pour montrer comment des traces de sentiment se transforment dans des textes. Dans les pluparts des personnages chez les textes de Young-sun Yun, on peut voir si $d{\acute{e}}finitivement$ leur cicatrices personnelles, $sensibilit{\acute{e}}s$ $m{\hat{e}}l{\acute{e}}s$, ce 'je-ne-pourrai-rien-contre-mon-$p{\grave{e}}re$' ou 'je-ne-sais-quoi-et-presque-$apr{\grave{e}}s$-la mort-de-mon pere'. Pour $d{\acute{e}}pouiller$ cet aspect, j'ai $montr{\acute{e}}$ qu'il n'y avait pas de $v{\acute{e}}rit{\acute{e}}s$ objectives, mais que la $subjectivit{\acute{e}}$ doit trouver le jeu triangulaire entre l'inconscient de l'auteur par les paroles des textes et par les rapports entre le symbolisant et le $symbolis{\acute{e}}$ dans les $repr{\acute{e}}sentation$ socio-culturelle en $Cor{\acute{e}}e$ d'aujourd'hui.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.333-368
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• 2012

Dans l'histoire du $th{\acute{e}}{\hat{a}}tre$ $cor{\acute{e}}en$, la position de Chae yoon-il est $tr{\grave{e}}s$ $particuli{\grave{e}}re$. Il a $consacr{\acute{e}}$, dans ses $carri{\grave{e}}res$ de la mise en $sc{\grave{e}}ne$, toute son ${\acute{e}}nergie$ au $th{\acute{e}}{\hat{a}}tre$ sans jamais $fl{\acute{e}}chir$ contre le pouvoir dictatorial. Un critique a dit que son $th{\acute{e}}{\hat{a}}tre$ est semblable au $th{\acute{e}}{\hat{a}}tre$ de la $cruaut{\acute{e}}$. Pourtant, dans la mesure $o{\grave{u}}$ il respecte le texte dramatique, et que son $th{\acute{e}}{\hat{a}}tre$ a des tendances de la politique et qu'il oriente l'engagement du spectateur, il est certain que son $th{\acute{e}}{\hat{a}}tre$ est loin du $th{\acute{e}}{\hat{a}}tre$ de la $cruaut{\acute{e}}$. Ses $proc{\acute{e}}d{\acute{e}}s$ de la mise en $sc{\grave{e}}ne$ sont $tr{\grave{e}}s$ divers et il n'y a pas de $coh{\acute{e}}rences$ au niveau des styles dramatiques. $Malgr{\acute{e}}$ cela, nous pouvons trouver son $originalit{\acute{e}}$ de la mise en $sc{\grave{e}}ne$ dans la rencontre avec Lee hyun-wha. Le metteur en $sc{\grave{e}}ne$ ${\acute{e}}tablit$ son $esth{\acute{e}}tique$ $th{\acute{e}}{\hat{a}}trale$ en montant sur $sc{\grave{e}}ne$ de cinq $pi{\grave{e}}ces$ de Lee hyun-wha. Alors, en effet qu'est-ce que $l^{\prime}esth{\acute{e}}tique$ de la mise en $sc{\grave{e}}ne$ de Chae yoon-il produite par les ${\oe}uvres$ $th{\acute{e}}{\hat{a}}trales$ de Lee hyun-wha? Dans les $pi{\grave{e}}ces$ de Lee hyun-wha, il y a beaucoup de codes symboliques de la violence sexuelle comme le sadisme et le masochisme. L'implusion sexuelle $cach{\acute{e}}e$ dans le subconscient des personnages s'entrecroise avec le $m{\acute{e}}canisme$ du pouvoir politique. Alors, les abus sexuels et les mauvais traitements sur le corps deviennent une sorte de torture. L'expression cruelle des langages $sc{\acute{e}}niques$ n'est autre que la $r{\acute{e}}volte$ contre la $r{\acute{e}}alit{\acute{e}}$ actuelle de la politique. Son $th{\acute{e}}{\hat{a}}tre$ de torture est donc une sorte de $m{\acute{e}}canisme$ de la catharsis pour dissiper le cauchemar et l'inconscient noir. La fantasie sexuelle construite par le monde inconscient de l'auteur dramatique $s^{\prime}{\acute{e}}panouit$ dans le $th{\acute{e}}{\hat{a}}tre$ de Chae yoon-il qui $r{\hat{e}}ve$ toujours l'esprit de la $libert{\acute{e}}$. Une des convictions dramatiques du metteur en $sc{\grave{e}}ne$, c'est que le $th{\acute{e}}{\hat{a}}tre$ tout d'abord doit ${\hat{e}}tre$ choquant. Il dit : "l'art doit ${\hat{e}}tre$ ${\grave{a}}$ la fois ${\acute{e}}mouvant$ et bouleversant. Cependant, dans la mesure $o{\grave{u}}$ le film ou la $t{\acute{e}}l{\acute{e}}vivion$ fait aujourd'hui une vive impression aux spectateurs, la part $donn{\acute{e}}e$ au $th{\acute{e}}{\hat{a}}tre$ est le choc." Pour donner le choc aux spectateurs, le style de la torture est $tr{\grave{e}}s$ utile. $L^{\prime}esth{\acute{e}}tique$ $th{\acute{e}}{\hat{a}}tral$ du metteur en $sc{\grave{e}}ne$ respecte essentiellement l'intention de l'auteur. $N{\acute{e}}anmois$, le respect sur l'original ne se $d{\acute{e}}range$ pas $l^{\prime}interpr{\acute{e}}tation$ de son propre $id{\acute{e}}e$. Dans l'insistance de la torture, l'analyse rituelle sous la base du choc, il projecte le symbole $arch{\acute{e}}typal$ sur $sc{\grave{e}}ne$. Bien $s{\hat{u}}r$, il renforce le $caract{\grave{e}}re$ de la politique dans le $th{\acute{e}}{\hat{a}}tre$ de torture pour inviter des spectateurs de l'engagement. D'ailleurs, il y a l'aspect d'absurde dans le $th{\acute{e}}{\hat{a}}tre$ de torture qui insiste des violences ${\grave{a}}$ travers les langages $sc{\acute{e}}niques$ comme le $m{\acute{e}}tal$ froid, parce que le metteur en $sc{\grave{e}}ne$ $consid{\grave{e}}re$ que $l^{\prime}{\hat{e}}tre$ humain vit dans l'absurde.

• Trans-
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• v.3
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• pp.109-135
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• 2017

The purpose of this thesis is to analyze characteristics of everyday movement showed in performances of Steve Paxton. A work of art has been realized as a special object enjoyed by high class people as high culture for a long time. Therefore, a gap between everyday life and art has been greatly existed, and the emergence of everyday elements in a work of art means that public awareness involving social change is changed. The postmodernism as the period when a boundary between art and everyday life is uncertain was a postwar society after the Second World War and a social situation that rapidly changes into a capitalistic society. Changes in this time made scholars gain access academically concepts related to everyday life, and affected artists as the spirit of the times of pluralistic postmodernism refusing totality. At the same period of the time, modern dance also faced a turning point as post-modern dance. After the Second World War, modern dance started to be evaluated as it reaches the limit, and at this juncture, headed by dancers including the Judson Dance Theatre. Acting as a dancer in a dance company of Merce Cunningham, Steve Paxton, one of founders of the Judson Dance Theatre, had a critical mind of the conditions of dance company with the social structure and the process that movement is made. This thinking is showed in early performances as an at tempt to realize everyday motion it self in performances. His early activity represented by a walking motion attracted attention as a simple motion that excludes all artful elements of existing dance performances and is possible to conduct by a person who is not a dancer. Although starting the use of everyday movement is regarded as an open characteristic of post-modern dance, advanced researches on this were rare, so this study started. In addition, studies related to Steve Paxton are skewed towards Contact Improvisation that he rose as an active practician. As the use of ordinary movement before he focused on Contact Improvisation, this study examines other attempts including Contact Improvisation as attempts after the beginning of his performances. Therefore, the study analyzes Satisfyin' Lover, Contact at 10th & 2nd and Bound that are performances of Steve Paxton, and based on this, draws everyday characteristics. In addition, related books, academic essays, dance articles and reviews are consulted to consider a concept related to everyday life and understand dance historical movement of post-modern dance. Paxton attracted attention because of his activity starting at critical approach of movement of existing modern dance. As walking of performers who are not dancers, a walking motion showed in Satisfyin' Lover gave esthetic meaning to everyday movement. After that, he was affected by Eastern ideas, so developed Contact Improvisation making a motion through energy of the natural laws. In addition, he had everyday things on his performances, and used a method to deliver various images by using mundane movement and impromptu gestures originating from relaxed body. Everyday movement of his performances represents change in awareness of performances of the art of dancing that are traditionally maintained including change of dance genre of an area. His activity with unprecedented attempt and experimentation should be highly evaluated as efforts to overcome the limit of modern dance.

• Journal of Korean Theatre Studies Association
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• no.40
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• pp.163-206
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• 2010

Um die Jahrhundertwende des 20. Jahrhunderts besinnt sich Theater als ein Kunstwerk auf seine eigene $Realit{\ddot{a}}t$, $K{\ddot{o}}rper$, Raum und Zeit. Die Existenzweise des Theaterkunstwerks ist $Auff{\ddot{u}}hrung$. Die Kennzeichen der $Auff{\ddot{u}}hrung$ ist Transitorik, Unmittelbarkeit und Ereignishaftigkeit. $Auff{\ddot{u}}hrungsanalyse$ der Theaterwissenschaft als Disziplin wird lange Zeit $vernachl{\ddot{a}}ssigt$, weil $Auff{\ddot{u}}hrung$ ein Opfer der Zeit ist. Angesichts der $Auf{\ddot{u}}hrungsanalyse$ $mu{\ss}$ man eine Invariante zur $Verf{\ddot{u}}gung$ stellen, um einen Gegenstand zu analysieren. Die Inszenierung als ${\ddot{a}}sthetischer$ Gegenstand ist einmalig und unwiederbringlich. Das $B{\ddot{u}}hnengeschehen$ ist materielle $Realit{\ddot{a}}t$, die von dem Zuschauer sinnlich - optisch und akustisch - erfahren wird. Die Inszenierung realisiert sich in 'drei $B{\ddot{u}}hnengestalten$': 'Intendierte $B{\ddot{u}}hnengestalt$', 'realen $B{\ddot{u}}hnengestalt$' und 'vermeinte $B{\ddot{u}}hnengestalt$'. Die $Auff{\ddot{u}}hrung$ konkretisiert sich im Kopf des Zuschauers nicht als eine reale $B{\ddot{u}}hnengestalt$, sondern als ein '${\ddot{a}}sthetisches$ Objekt', 'als Abdruck der $B{\ddot{u}}hnenvorg{\ddot{a}}nge$'. Der Platz des $Auff{\ddot{u}}hrungsanalytikers$ ist der des Zuschauers, des Rezipienten. Die ${\ddot{a}}sthetische$ $B{\ddot{u}}hnengestalt$ ist eine Rekonstruktion der selektiven wahrgenommenden $Auff{\ddot{u}}hrung$, die der 'realen $B{\ddot{u}}hnengestalt$' ${\ddot{a}}hnelt$. Diese Rekonstruktion als neue $Sch{\ddot{o}}pfung$ des Rezipienten ist "Simulacrum", das der dem Objekt $hinzugef{\ddot{u}}gte$ Intellekt ist. Der Begriff der $Auff{\ddot{u}}hrungsanalyse$ wird Synonym $f{\ddot{u}}r$ die Interpretation als hermeneutischer $Proze{\ss}$. $F{\ddot{u}}r$ die Methode der $Auff{\ddot{u}}hrungsanalyse$ gibt es Strukturanalyse und Transformationsanalyse. Strukturanalyse geht $ausschlie{\ss}lich$ von der $Auff{\ddot{u}}hrung$ aus. Transformationsanalyse geht von der Transformation des Textes aus. $F{\ddot{u}}r$ diese Arbeit steht dramaturgische Analyse von Shakespeares Romeo und Julia als erste Grundlage. Die Handlungsentwicklung von Romeo und Julia ist klar in '$f{\ddot{u}}nf$ Akte' eingeteilt, die insgesamt aus 24 Szenen bestehen. Die Gesamthandlung von Romeo und Julia baut sich $pyramidenf{\ddot{o}}rmig$ nach dem Schema der steigenden und fallenden Handlung auf: Exposition/ Ausgangssituation (bis zur ersten Begegnung des Liebespaares auf dem Fest), erregendes Moment als Steigerung (von der Verliebtheit bis zur $Eheschlie{\ss}ung$), Wendepunkt/ Peripetie (Mercutios Tod), retardierendes Moment (Julias Scheintod) und Katastrophe (Vereinigung im Grabe). Die Handlung des $St{\ddot{u}}ckes$ gliedert sich in eine Haupt- und eine Nebenhandlung: dominierend ist die Liebeshandlung zwischen Romeo und Julia, daneben steht die Entwicklung der Fehde zwischen den Familien von Montague und Capulet; sie sind 'sich gegenseitig bedingend, steigernd, hemmend und vernichtend'. Parallelisierung und Kontrast der Figurenkonstellation werden in den jeweils sozial oder im Alter entsprechenden Figuren aus den beiden verfeindeten Familien gezeigt. Die Thematik des $St{\ddot{u}}ckes$ kommt in dem Oxymoron "loving hate" (I.1.175) zum Ausdruck. Shakespeare $l{\ddot{a}}sst$ die Liebeshandlung von Romeo und Julia in der Art der de casibus-$Trag{\ddot{o}}die$ spielen; deren Handlungsmuster ist 'dargestellt im Rad der Fortuna, das einen Menschen $emportr{\ddot{a}}gt$ und wieder $abst{\ddot{u}}rzen$ $l{\ddot{a}}sst$'. Das $St{\ddot{u}}ck$ Romeo und Julia ist eine experimentelle $Trag{\ddot{o}}die$. Es beginnt als $Kom{\ddot{o}}die$ mit $Z{\ddot{u}}gen$ einer Romanze, die sich aus dem Motiv der privaten Liebe und Heirat entwickelt. Pater Lorenzo und die Amme treten mit Lorenzos Wissen von der magischen Kraft der $Kr{\ddot{a}}uter$ und der $Geschw{\ddot{a}}tzigkeit$ der Amme $h{\ddot{a}}ufig$ in der $Kom{\ddot{o}}die$ auf. Die Handlung von Romeo und Julia erreicht mit Mercutios Tod den Wendepunkt, der die komische Welt zur tragischen umwandelt. $F{\ddot{u}}r$ die Sprache gibt es Prosa der Diener wie die Alltagssprache der einfachen Leute und zugleich Verse der Adeligen. Shakespeare verwendet eine kontrastreiche Metaphorik $f{\ddot{u}}r$ Raum und Zeit. Dreimal geschehen am Tag die $K{\ddot{a}}mpfe$ der verfeindeten Familien auf den ${\ddot{o}}ffentlichen$ $Pl{\ddot{a}}tzen$. Der Tag wirft ein Licht auf den Hass und die Gewalt. Die Nacht aber ist die $Sph{\ddot{a}}re$ der Liebe, wo Romeo und Julia ihre heimliche Verbindung verborgen halten $k{\ddot{o}}nnen$. Die Liebenden treffen sich in der Nacht und in dem ummauerten Raum. Oh, Tae-Suks "Romeo und Julia" wird in der Form des Madangguks gestaltet. Die Handlung in Oh, Tae- Suks Textfassung ist also nicht nach dem Prinzip der $Kausalit{\ddot{a}}t$ und Folgerichtigkeit zu lesen wie im Shakespeare-Drama. Wegen dem Ignorieren der $Kausalit{\ddot{a}}t$ des Handlungsablaufes und dem Fehlen der Motivation der Handlung ergibt sich hier keine individuelle psychologische Figurencharakterisierung. Die Figuren sind typisiert. Die koreanische Textfassung mit den extremen textlichen $Verk{\ddot{u}}rzungen$ und den zwei szenischen $Hinzuf{\ddot{u}}gungen$ $pr{\ddot{a}}gt$ die Inszenierung dahingehend, dass an die Stelle der Wortsprache mehr $K{\ddot{o}}rpersprache$ und szenische Bilder treten. Die langen Sprechpartien der Figuren im Shakespeare-Drama werden meistens $gek{\ddot{u}}rzt$ und $beschr{\ddot{a}}nken$ sich entweder auf Informationen ${\ddot{u}}ber$ die Situation oder zur Handlungsentwicklung. Und der Handlungsablauf erfolgt in Episoden sowie Musik, Lied und Tanz; Musik, Lied und Tanz dienen einerseits dem ${\ddot{U}}bergang$ der Szenen, sind aber andererseits auch selbst Teil des Handlungsablaufs. $W{\ddot{a}}hrend$ Shakespeare die Sprache der $W{\ddot{o}}rter$ in den Vordergrund $r{\ddot{u}}ckt$, $st{\ddot{u}}tzt$ Oh, Tae-Suk sich mehr auf die Sprache des $K{\ddot{o}}rpers$, die ja zugleich bildhaft ist. $Daf{\ddot{u}}r$ nimmt die Inszenierung Tanz und Lieder. Oh, Tae-Suks Inszenierung entwirft Shakespeares $Trag{\ddot{o}}die$ in der Form des Madangguks als Spiel und zugleich als erkennentnisorientiertes, nachdenkliches Theater $f{\ddot{u}}r$ den koreanischen Zuschauer, das dem traditionellen koreanischen Theater als Unterhaltungstheater nicht $m{\ddot{o}}glich$ ist, in dem sich das Volk von der Wirklichkeit erleichterte und sich $vergn{\ddot{u}}gte$. Oh, Tae-Suk formt das Publikum zum 'Wir' und zugleich zum 'Ich'. Mit dem Zusammensein der $v{\ddot{o}}llig$ andernen Theaterkulturen schafft der Reigisseur das hybride Theater und dadurch bildet $f{\ddot{u}}r$ die moderne koreanische Gesellschaft eine neue kulturelle $Identit{\ddot{a}}t$ heraus.

• Journal of the Korean Society of Costume
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• v.62 no.5
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• pp.125-137
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• 2012

This study examines the stage costumes of the creative musical 'Hyecho', which was performed six times in the Chung Ang Art Center hosted by Chung-Ang University's performance & media agency from December 20 to 22 in 2006. The stage costumes were made based on these basic design elements of stage costumes that were dyed : line, silhouette, material, and color. First, the creative musical 'Hyecho' presents a new form of fusion theatre, which blends Korean traditional music and dance with videos. Thereby, the musical has opened a new phase in Korea's creative performing arts. Second, in musical performances that combines dance and songs, stage costumes should be made not only to attract the audience's eyes, but also not to interrupt actors' vocalizations and movements by taking their physical features into account. Also, costumes should be made in consideration of their relationships with visual elements, including stage settings and lighting. Third, the musical features fusion-style stage costumes, which combines Hanbok, the Korean traditional costume, and Indian traditional costumes with modern costumes. For the line and silhouette, costumes show the beauty of curves through the curves of Hanbok and India's traditional costumes and also through irregular pleats of pants. Also, by using cotton materials, which is easy to dye and not readily deformed, costumes feature colors that are found in nature through a gradation dyeing technique. In doing so, it offers visual amusement to the audience by making stage costumes look like a beautiful painting. Fourth, the stage costumes of the chorus feature costumes that use lining and pleated skirts using belts, and various accessories, including necklaces that use strings in order to express evil spirits. Since there is not much time to change costumes during a performance, using such items are helpful to show the unique characteristics of actors effectively during the limited time. Also, coordinating with the lighting director allows the costume designer to make better costumes for the chorus and make the performance more dramatic. Finally, it was not necessary to wash the costumes of the chorus of the fusion musical Hyecho 2006 since it was performed only six times. However, when using dyed costumes for the long-term performance, it might cause problems such as bleaching that result from the washing of costumes and low durability that can result in the deformation of costumes. As performing arts are made in various forms and are diversified, it is needed for stage costumes to change accordingly through new attempts and various ways of expression.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.18 no.3
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• pp.23-28
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• 2018

Next generation displays show a trend of evolving from the display device environment (represented by existing televisions) to the mobile environment. The mobile display corresponding to the personal display is similar to a home theatre; however, they are advantageous because they are small and have a relatively lower weight. Therefore, the display industry has an interest in diverse product applications of displays, reproducing more accurate colours, and offering improved image quality from display devices of various sizes. To address these interests, a psychophysical experiment was conducted in this research. The experiment compared the size of the colour stimulation corresponding to foveal vision by gradually increasing the lightness of the background. This was based on the assumption of possible differences in colours being recognized by the lightness of the background and the size of the colour stimulation. Contrary to the results of previous studies, where the colours are identified more clearly as the size of the colour stimulation increases (assuming that the lightness of the background is not considered) here the results of the experiment showed that the attributes of the identified colours were different depending on the lightness of the background and the size of the colour stimulation. Based on the experimental results, it is possible to resolve errors in colour conversion that can occur when the input image is switched from a large screen size to a mobile size display, and to reproduce the colours more accurately and improve the image quality.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.7
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• pp.4441-4449
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• 2015

The purpose of this study is to find out how children's musical is done in the early childhood education field. To find out the realities of children's musical watching, seek problems and way to improve, educationally new alternative, we selected subjects of study as follows. First, how children's musical of the early childhood education center is done? Second, how the education related children's musical of the early childhood education center is done? Third, what is the problem and way to improve of watching children's musical? To find out these, the result of the teachers(159 people) who are working the kidergarten and the early childhood education center is as follows. First, Children were very interested in watching musical and could get new, various experience and culture. Second, when watching musical, kindergarten and the early education center did pre-exploration everytime except same place. second, Of post-education activity, drawing activity related with musical content, story-making activity, developing to child's act are educationally effective. Third, whey watching musical, there is much pressure about danger and safety. So it is hard to control when children is moving. This significant result shows the importance of educational effects of the musical watching and the proposed expansion of the opportunity to experience a musical watching of the various educational approaches.