• Journal of the Korea Safety Management & Science
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• v.11 no.1
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• pp.155-164
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• 2009

Recently there has been many researches of performing arts, the concepts of performance products or mechanism have been gradually established. However, compared to the research of public performance itself, the research of its consumer still stays on the basic stage and it is difficult to apply to the business. Therefore the needs of the related research has continued being insisted among the staffs. This study raises points that the recent performance business still focuses on providers. Moreover it notices the urgent needs of the consumer orientation strategies and the changes of marketing in the performance business. Therefore it needs to understand the performance consumers and to research how they can be satisfied with the performance according to their types. This dissertation, thus, is to find out the evaluation method of theatre service qualities and the relations between the theatre service qualities by size and customer satisfactions to suit for the customer oriented marketing paradigm, and to present a suggestion that requires for establishment of service marketing strategies for theatre, the place for performing arts.

• Fashion & Textile Research Journal
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• v.14 no.6
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• pp.889-897
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• 2012

This study suggests a direction for stage-costume design by making stage costumes based on amusement, eclecticism, and the masquerade, which are the criteria for approaching stage costume designs according to characteristics of the mask theatre presented by P. G. Bogatyryov. The conclusions of this study are as follows. First, criteria to approach stage costume design for mask theatre can be classified into amusement, eclecticism, and masquerade according to the characteristics of the mask theatre presented by P. G. Bogatyryov. Second, the stage costume of a mongrel dog showed amusement through the expression of the image of therianthropy through the combination of a fur-lined vest and wristlet, Korean traditional trousers with the paw-prints of a dog. Third, eclecticism contains diverse characteristics and escapes from being singularly defined due to the fusion of severally different heterogeneous objects. The stage costume differently used a method of wearing clothing in a different period, of choosing clothing materials, and of expressing color in every character to indicate ambiguity to which the drama points through the integration of various expression elements. Fourth, the masquerade present characters (Taembang, Daejang, and Changseok)who simultaneously play the role of fairies after having changed into a white mask and having worn Korean a traditional overcoat (Durumagi) on the original clothes; the, result is the change of the theatrical structure into another time and space inside the theatrical scene of imagination through a concealment of the original clothing.

• The Journal of the Korea Contents Association
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• v.11 no.1
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• pp.165-175
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• 2011

The purpose of this research is to investigate the possibility of creating new theatrical contents by performance anthropological approach. Today's traditional performing arts are historically descended and developed in the forms of Ahk, Hee, and Geuk. Among those, Dongrae-yaru is a traditional mask dance, handed down in Dongrae, Pusan and appointed as the 18th intangible cultural asset. Its performance is carried out in the juxtaposition of Ahk, Hee, and Geuk. Korean theatre in the 21st century seems going back to realism after going through post-modern cultural phenomenons. However, the quest for alternative theatre is raised higher than ever. As a part of this strive, this paper asserts the traditional performing arts should be investigated as an alternative and new theatrical form. Among those traditional performing arts, Dongrae-yaru is selected for its well balanced combination of Ahk, Hee, and Geuk. The study examines in depth how each element of Ahk, Hee, and Geuk, they are expressed in forms of folk music, refined dance, jest, satire, wit. Its investigation on the stage adaptation provides the possibility for the new style and codification as the new theatre contents.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.359-384
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• 2012

The purpose of this study was to explore the theatrical aesthetics of the performances which was produced by the theater director, Yang Jung-Ung. Yang has been one of the most influential directors working in Korea in the last 15 years. He has put up performances all over the world with the theater members from his company called Yohangza, which was founded by him in 1997, and working as the director, portrayed his style of the theatrical aesthetics through the works of its plays and musical products. In 2012, this company performed A Midsummer Night's Dream at Shakespeare's Globe Theatre. A Midsummer Night's Dream was invited to be staged at the Barbican Center in 2006. In the same year, it received the grand prize and the Audience Choice award at the Gdansk International Shakespeare Festival in Poland. The musical products like A Good Woman from Seoul and the modern Opera Wozeck are representative works of Yohangza, which are known for a unique way of exploring the meaning of life. The 2009 plays Hamlet and Peer Gynt represent Yohangza's simpler yet more insightful theatrical style. Peer Gynt, which debuted at the LG Art Center, made headlines for its innovative staging. It received the grand prix, Best Director and Best Stage Art awards at the 2009 Korea Theater Awards. Yohangza's plays show two-side "image-based" works. The company drastically reduced verbal lines and enriched the plays with Korean sentiment and aesthetics, but their scripts contained many poetic lines full of overtones. They showed a theatrical mise-en-scene of images, energetic dance, songs in chorus and percussion. For example, Korean sentiments were subtly blended into the two Shakespeare's plays, A Midsummer Night's Dream and Twelfth Nights. Their performance combines music, mime, song and dance to create an exhilarating adaptation of Shakespeare's inventive and glittering comedy. In addition, the style of Yohangza Theatre Company is a collision of the past and the present: a reworking of existing Korean styles and themes infused with contemporary elements and full of unique exploration in the plays.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.509-547
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• 2012

The Seoul Arts Center is an representing Korean arts-complex consisting of the Opera House, the Concert Hall and the Museums. Since its opening in 1993, it has been established as a mecca of arts and the culture in Korea. Many local public theatres in Korea are benchmarking its operating system and policy. Unlike most European or American theatres, the Seoul Arts Center has no resident art companies. It is not a 'producing theatre' whose programming is mainly based on house productions with resident companies, but a 'presenting theatre' that is to be managed with rental and invitation programs without resident companies. The majority of the Korean public theatres are also presenting theatres. This study aims to research and analyze how the Seoul Arts Center has developed the programming of the Opera House for last 19 years and which challenges and issues it has been dealing with, and finally to propose what will be recommendable remedies for its successful future. The analysis is divided into four development stages: preparation period from 1981 to 1992, establishment period from 1993 to 1999, growth period from 2000 to 2006, and lastly crisis period from 2007 to 2011. Facing the 20th anniversary next year(2013), the Opera House of the Seoul Arts Center is going through recent critical situations: higher competitions among increased theatres, trends of commercial musical productions, and rapid declines in its house programs due to the low budget and unclear programming policy. I propose as a discussion to start a repositioning strategy as a Korea's representing arts-complex, utilizing all sources from inside and outside and having the policy direction.

• (The) Research of the performance art and culture
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• no.20
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• pp.31-61
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• 2010

This thesis proposes to explore the theatre aesthetics of North-Korea during after the Liberation. From now South-Korean theorists have provided the theatre aesthetics of North-Korea to South-Korea, so we can say that it lacks of an equity. For example, South-theorists have said that North-Korean theatre only emphasized politics and propaganda, they have had not any aesthetics in performance. So this study focused on North-Korean critics and records for fairness and as a result something new is founded. The best theatres in North-Korea were some works which contains natural and proper lines to character, well-expressed inner desires of characters, realistic acting and stage design, and realistic life of working class. Of course they should reflect communist ideology and policy, but more important is that it did not mean everything in North-Korea. So we can say that it is fact that North-Korea should reflect their policy, which does not mean lack of aesthetics of performance. North-Korea had an obvious point of view for theatre, and they made an effort to realistic lines, movements and stage. During right after the Liberation, North Korea sought to find an answer for 'realization of true life', and sought to eliminate Japanese acting style in theatre. Concluded theatre aesthetics of North-Korea during right after the Liberation is realistic acting and directing style.

• (The) Research of the performance art and culture
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• no.25
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• pp.5-30
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• 2012

I. Identity of Yeonsegeuk as total arts. The purpose of the thesis is to arrange the identy of Yeonsegeuk(Kino-Drama) which is theatre or film. The process of study is tried to discuss on the aethetic of Yeonsegeuk. II. Appearance of Yeonsegeuk and negative disputation of yeonsegeuk The first imported Yeonsegeuk from Japanese in Korea is made by the group of Mizuno Ganggetsu(水野觀月) on Oct. 16. 1915 at Pusan and also to run in Seoul at Hwanggeumgwan. The first of Korean Yeonsegeuk is by Kim, Dosan, a leader of Singeukjwa(theare group) on Oct. 27. 1919 at Danseongsa. Before the liberation of Korea from Japan all made korean Yeonsegeuk are 28 works. III. Dramatic form of Yeonsegeuk I study on the relation between Yeonsegeuik and Sinpageuik(new theatre of modern drama in 1920's). I find that Yeonsegeuik admitted the thechnics of the Sinpageuik and the contents. If We think that the theatre is synthetic art which genealize all arts, we can insist that the Yeonsegeuk is valued the total art as new performance to comply with film art to theatre. Conclusionly Yeonsegeuk is called 'Expanded Theatre' as the new performance which must be dicussed in the view of total art. VI. Discussion on the the aethetic of Yeonsegeuk When we compare the structure of film with the structure of theatre, we can't find a diffrent element between the structure of two art in art semiotic. But we find a fact that film art has special elements in mechanics character which are camera working and motage. These technics influence on the audience's mind. It is different point between Japan and Korean's Kino-drama and Germany's that is to admit the aethetic of total art or not. V. Yeonsegeuk as new performance During Korean modern times Kino-drama was first a kind of total art with stage and screen. But it is regretable that Kino-drama didn't have the background of theory which discourse on the comprehension of total art. As the result Kino-drama bring the confusion of argument that Kino-drama is total art or expanded theatre. This confusion will be disputed on film art as performing arts or future art as expanded film and total art.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.133-169
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• 2013

Reexamining Brecht's theoretical hypotheses in terms of cognitive science, this essay arrived at several temporary interpretations. Cognitive science implies that empathy can precede the rational understanding in Verfremdungseffekt. The spectator tends to simulate the unfamiliar incident and character and feels the consequential embodied emotion that leads to the cognitive understanding. The similar situation can be found in social gestus. According to cognitive science, gesture(social gestus) is simulated in the mirror-neuron of spectator, arousing consequently the embodied emotion that triggers the succeeding understanding. The spectator apts to experience and feel physically the moving gesture before decoding it as a social signification. Brecht's intention that attempts to reveal the duality of actor and character by eliminating the fourth wall is negated by cognitive science. According to the theory of conceptual blending, the spectator under the eliminated fourth wall mixes actor and character, and simulates this blending image so that he experiences it imaginatively. As such, another kind of illusion can be formed when a fourth wall is collapsed. Meanwhile, the critical thinking of spectator Brecht wanted can be hard to occur during the performance. It is necessary for the spectator to recollect the bygone dialogue and action in terms of social context as if he presses the pause, stopping the playback while watching a play in video. In this respect the social meaning Brecht intended can be achieved more effectively by the stop motion like tableau. It would not only give the time for the spectator to consider the implied social signification, but also make him possible to decode a semiotic meaning as if interpreting a still picture. Or it can be delivered by the dialogue that expresses the playwright's critical judgement. In this case, the subject of critical thinking is not the spectator but the author. The alternative explanation that the cognitive science suggests illuminates theoretically the reasons why Brecht's theory fails to be realized in practice. In a sense, Brecht's theory is nothing but a theoretical hypothesis. It takes the premise that the emotion hinders the rational thinking, understanding emotion and reason oppositively like Plato. This assumption is negated easily by the recent cognitive science that sees the reason as a by-product of physical experience including emotion. The rational understanding, in this sense, begins from the embodied emotion. As such the cognitive science denies the dichotomy of emotion and reason that Brecht adopted. The theoretical hypothesis of cognitive science makes us recognize again the importance of bodily experience in theatre. In theatre the spectator tends to experience physically before decoding the intellectual meaning. The spectator Brecht wanted, therefore, is far from the reality. The spectator usually experiences and reacts physically before decoding the meaning critically. Thus Brecht's intention can be realized by the embodied emotion resulted from simulation. This tentative interpretation suggests that we need to pay more attention to the empirical study of spectatorship, not remaining in a speculative study.

• The Journal of the Korea Contents Association
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• v.19 no.5
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• pp.562-571
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• 2019

The expansion of the performing arts market to include new genres of art that combine art and cutting-edge media technology has surpassed the limitations of traditional theatre art elements such as stage, costumes, lighting, sound, and props, allowing free expression of space-time and visual art. It is growing into a wide area with unlimited potential in the performing arts sector. In response to these changes and the demands of the time, there is an increasing demand for multi-talents who can plan and produce arts and technology-converged contents that will contribute to the development of the performing arts industry. As a result, university departments related to theatre art across the country feel that it is urgent to develop curricula that will enhance students' competency by incorporating the latest media technologies such as virtual reality, holography, and interactive motion sensors into the existing performance art visualization process. In this study, the author will examine the process of developing courses in technology-incorporated theatre art (design) through case studies of media technology-converged performances from the past 10 years. Based on the traditional concept of theatre art, the attempt to fuse stage art with media technology will be a cornerstone of attempts to foster a group of talented artists who transcend the limits of creative visual expression and creative value.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.295-306
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• 2020

In 21st century, theater evolves into a complex aspects. Advanced visual media, such as photography and movies has brought crisis to theater's position, and that crisis led contemporary theater seek for distinctive strategy by repeatedly pondering over the format in which it can be more competitive than other arts. And postdramatic theatre is one of distinctive characteristics of this trend in contemporary theater. Among these flows, The aim of thesis is to study the phenomenon of postdramatic theatre and its practical application in the recently performed (2019) by Theater Group "Mul-Kyul". (2019) puts the body at the front, one of the features of the postdramatic theatre. When creating stage, or developing narratives, the process of characterization, or even highlighting dramatic themes, non-verbal focused theatrical expressions hold a dominant position over verbal expressions. Also, by combining various non-verbal elements like object, with body language, it builds a complex Scenography and creates a metaphorical expression. In this regards, I would like to classify the postdramatic theatre phenomenon shown in the (2019) into 'Disorganization of text through Scenography' and 'Collage of Body Language and Object' and consider its characteristics and meanings.