• (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 Korea Entertainment Industry Association
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• v.14 no.8
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• pp.117-130
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• 2020

The Golden Dragon is a work that reminds us of the tragic illusion of globalization through the story of Asian workers' lives in Berlin, a strange city. Also, the post-epic nature of the play requires the audience to see it in a new way, more different than before. In Korea, there are theoretical studies on the post-epic theatre, but there is little research on specific acting approaches based on practical production process. Therefore, I first analyze the post-epic characteristics of The Golden Dragon in order to present specific acting approaches. As a result, it would be confirmed that body-centered acting approaches were required in the post-epic theatre to play more different roles than in the realism play. Thus, Laban movement Analysis(LMA) of Rudolf von Laban is applied so that internal impulses could be naturally induced through the utilization of the body. Of the four categories of motion(BESS), Laban seeks to look at the body-centered acting approaches through the effort. Finally, it must be confirmed through the actual production process that Laban's theory of motion could be used as a body-centered acting approach to creating the role of post-epic theatre.

• The Journal of the Korea Contents Association
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• v.12 no.6
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• pp.201-210
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• 2012

This study examines the structure of taste repertoires for cultural arts. The major results are as follows: firstly, the numbers of taste repertoires were 1.66 for type 1 and 4.27 for type 2. More specifically, respondents tended to have movie taste. Secondly, there were socio-demographic differences for taste repertoires for cultural arts. In other words. female respondents to have more taste repertoires than that of male respondents. Also, younger respondents to have more taste repertoires than that of older respondent. Thirdly, blog users tended to have more taste repertoires than that of non-users. It can be argued that blog use may be a determinant of the number of taste repertoires for cultural arts. In addition, although the number of taste repertoires type 1 was determined by tastes for theatre, movie, popular music, musical and photo, the number of taste repertoires type 2 was determined by tastes for theatre, movie, musical and classic contents.

• 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.20 no.6
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• pp.241-255
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• 2020

The purpose of this study is to analyze musical performances with the use of performance booking information from 2017 to 2019 which was obtained in Korea performing Arts Box Office Information system (KOPIS), and to make suggestions of Korean musical performances. Based on the data of KOPIS, relevant studies, internet based information, news articles, and magazines, musical performances were analyzed. In addition, the previous data of KOPIS and the data of the Broadway League were analyzed. The analysis results are as follows. Firstly, it is necessary to concentrate on Korean mid-sized theatre musical performances. Secondly, producers need to open their production costs invested in performances transparently. Thirdly, Off-Broadway system needs to be introduced after being modified in consideration of Korean situations. Thirdly, it is necessary to make long-run performances in order to achieve commercial success. Fifthly, it is necessary to make a bold attempt of theatre for performances just as in Broadway.

• The Journal of the Korea Contents Association
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• v.13 no.2
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• pp.175-187
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• 2013

Because of the governments policy to promise the cultural homesickness of citizens, national and public culture centers are under construction all over the country. The interest of watching plays are increasing. But the existing culture center's facilities operating in the construction of emphasized. It's made up of public officials in technical service, are having a hard time breaking their limits. In consequence, to solve these problems it will be done with people who have qualifications of stage art professional in the center. Productions raise a support system of the city and venues subject to theatre arts professionals as a way of solving these problems. These are the efficient ways to develop performance cultures of issues presented and the Busan area performing arts Activation Plan is proposed.

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.87-95
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• 2013

"Gone with the wind"(1939, Directed by Victor Fleming) was produced in the stylistic conventions of the classical hollywood cinema, and thus the musical employment also followed the norms of the style, such as late Romantic musical style, serving the narrative, signifier of emotion, and giving continuity and unity. But, at the same time, the statement of the classical theory that the music hides and tailors itself to support the drama - invisibility, inaudibility, narrative cuing and so on - does not seem to explain the musical employment of "Gone with the wind." On the contrary, it hires music to put itself forward, and often times it stops the narrative to show musical spectacles for which the image is tailored to fit the music. These are more of music theatre or music drama features rather than the conventional underscore of the films in that period. In this study analysed the musical employment of "Gone with the wind" to see how it took full advantage of music to lead the narrative in a more active way and to make musical spectacles, by borrowing the technique and style of music theatre, such as, overture and entr'acte, similarities with film musicals, Wagnerism influence, and the use of songs.

• The Journal of the Korea Contents Association
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• v.21 no.7
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• pp.45-58
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• 2021

This study aims to select representative performance art visualization projects that react to changes in the culture enjoyment methods and needs of contemporary performance art consumers for performance art culture value creation and vitalization that suit the Fourth Industry and a global age, verify new cultural value creation possibilities of performance projects, and look into important matters and keynotes of production processes. Focusing on the report 'NT Live-Digital broadcast of theatre Learning from the pilot season'(2011), a thorough analysis was conducted on the Royal National Theatre of England, a leading model of cinema broadcast performance visualization projects, including the purpose, production processes (copyright agreements, personnel compositions, filming and broadcasting), marketing methods, and audiences of its "NT Live" project and observations were made of production processes and cultural and artistic values that differ from existing performance art to examine administrative and financial keynotes for the sustainability of performance visualization projects. Through this, possibilities of source creations with artistic, cultural, and economic values that cinema broadcast (live performance broadcast) performance viewing methods have as a new form of performance art products can be verified. In addition, the development of various performance approaches that respond to the culture enjoyment methods and consumption patterns of audiences will result in the vitalization of performing arts visualization projects through the enhancement of popular appeal and the expansion of audience types of the performing arts field.

• The Journal of the Korea Contents Association
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• v.6 no.8
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• pp.49-56
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• 2006

Urban cmmunity films have achieved the industrial modern society's idiosyncrasy Popular films have achieved the industrial growth through city as the completion of modernization. They also have represented the social meaning of urban space, and have expanded 'their political space' This filmic challenge showed diverse negative factors which were the poor's economical difficulties, the relative robbery of their education and job, and adhered class in city through developing the urban space with were hidden beyond modernity's splendor.

• Proceedings of the Korea Contents Association Conference
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• 2017.05a
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• pp.335-336
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• 2017

본 연구는 쏜톤 와일더 작품 '우리읍내(Our Town)'의 댄스뮤지컬 창작을 통해 작품에 참여한 연기전공 대학생들의 스트릿댄스에 대한 경험적 사고 인식 변화와 체험적 움직임의 변화과정을 분석하였다. 연구결과 참여자들은 대사연기와 움직임 표현의 동시성에 대한 부담을 갖고 있었으나 춤과 노래의 템포와 리듬감 변화를 통해 스트릿 댄스의 흥미요소로 나타났으며 이는 춤과 노래 그리고 연기로 병합되는 능동적 사고의 경험으로 요약 되었다.