• Journal of Korean Theatre Studies Association
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• no.49
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• pp.101-131
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• 2013

This paper reviews the Insaenggeukjang's history and Insaenggeukjang's play. This paper has been written with a purpose to understand and to examine the members(actors and actresses), the structure, the plays, the performing works, the change process, and the meaning of Insaenggeukjang(life theater) and junggangeug(middle-theater) in 1930s. Insaenggeukjang is Korean theater for the drama in the second half of 1930s. In particular, Insaenggeukjang is a theatrical troupe that led Korean theatrical troupes in 1937 to 1938. This paper intend to examine Insaenggeukjang's history, activity, feature and works. I study Insaenggeukjang and performing works contained in the newspapers and the magazines in 1920-30s, and conference papers and theater-art books published recently.

• Cross-Cultural Studies
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• v.28
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• pp.55-66
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• 2012

Ever since they were first produced, more than four hundred years ago, Shakespeare's plays have been reproduced and adapted into countless film and TV productions, into ballets and operas and theatre performances across the globe. The present paper, within a broad conceptual framework, aims to investigate the cross cultural dimension of adaptation of a stage play, written for the Renaissance England, into a $21^{st}$centuryIndianfeaturefilm. The paper uses Omkara, an adaptation of Othello by Vishal Bharadwaj, as a case study to: (i.) Explore the use of the idiomatic language of cinema in such an adaptation. (ii.) Posit a re-reading of Shakespeare with the help of local/native signifiers.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.171-208
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• 2013

Site-specific performance is always the real on-site work taking place at the site. Hence, it deals with the reality, in other words, the time of creation and formation. And it creates value and meaning through the interaction and continuous direct communication process between the performers, audience and the local residents. In this performance, the audience's status as the passive observer changes. They become the co-agent who actively lead and complete the performance through their own experience. We have examined the The Working Methods of Site-specific Performance and Aesthetics of Effect through four Korean performances ; Marie, An aesthetic experiment of site as the storyteller; Heterotopia and Urban Movement Research or Play: We Will Move Your Sofa, as performances which have Revealed history, politics, institution engraved in the site ; A Song of Mandala and Miracle, as a ritualistic site-specific performance at the historic site. Some remarks on Site-specific performance ; First, In Site-specific performance, the habitus peculiar to the stage art and the mode of reception are changed. Second, a new mode of theatrical communication requires creator and audience to have a sharp aesthetic sensibility and to change one's perceptual habit. Third, Site-specific performance can act as a demonstration for the viewpoints of political activism through what could be called a dramatic close-up effect. Fourth, Site-specific performance also has the risk of merely becoming an unfocused and scattered performance or degenerating into a pseudo-sightseeing. To avoid this, an in-depth study of the site and its socio-cultural context, and the clear motivation with which one is trying to reveal and tell from the site must be indispensable. As the co-agent, the audience should also be aware and think about what the given performance signifies today.

• 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.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.227-237
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• 2020

In the 30th edition of , Chunhyang is conventionally presented as a woman who tries to protect her chastity and it eventually bears the fruits of her love. On the other hand in , Chunhyang is reinterpreted as a woman who strives to protect feminist self-consciousness and beliefs, even in unreasonable social situations. By comparing the two different works, we can see differences in the behavior of the characters in how to overcome various obstacles, such as irregularity, gender discrimination, and identity conflict. By reinterpreting the emotions of the characters in the classic novel into the emotions of the modern characters, we can see the how the characters grow when trying to overcome the situation and find a solution, even though there is no change yet. This can be seen as the emotions of the characters become different as time goes by. As the times go by, the world's values and inclinations also change, and the irrationalities of the world will also go in various directions. Through the fusion of culture into history, even though it's irrational but we become familiar with it and will clearly understand the absurdities, and we can look forward to changes in the process.

• The Journal of the Korea Contents Association
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• v.8 no.11
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• pp.103-114
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• 2008

The purpose of this study is to find the theatrical style in Dogville, which was the film directed by Las Von Trier. There are a lot of Brecht Epic theatre styles in plot and mise en scĿne in the film. This study try to divide into three parts of them. First of all, the film uses the defined space as a theatrical stage in the one act play. Secondly, there are some apparatuses which was presented as a stagy style in the film. From these apparatuses, the audiences can get the human's life dialectically collided against a sense of alienation. Finally, the film shows up the mime and non-diegetic sound to get an epical stream of Brecht's style. By using these elements to construct all of the film structure, the audiences can establish their one subjecthood against the idealogical empathy.

• Cross-Cultural Studies
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• v.26
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• pp.249-272
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• 2012

Diaspora studies has become one of the fastest growing field in the humanities over the past several decades, and the use of term diaspora has been widening to include almost any population on the move. Diaspora literature not only mirrors but actively incorporates this new notion of diaspora with characters "at the threshold" navigating new territories and identities. Querying how diaspora studies intersects with theatre and performance, this paper attempts to probe how recent Korean American drama parallels and promotes diaspora studies' radical departure from traditional notions of identities and territories. For this purpose, this essay 1) examines theoretical affinities between diaspora studies and performance studies 2) investigates how Sung Rno's plays, Cleveland Raining and wAve, explore and embody multiple and evolving meanings of Korean diaspora on the stage 3) examines how theatre can create the third space that transcends both Korean and American nationalism and 4) speculates possibilities of reframing Asian American Studies as Asian diaspora studies. Korean American characters in Rno's play redirect diasporic identities, as their concern gradually moves from "where I come from" to "where I go to." Instead of remaining in the dark as a mere spectator, both Rno and his characters choose to be 'on' the stage where they can imagine, perform, and realize (however temporarily) "unimaginable community" by confronting their own social, political, and cultural ambivalence. Stage, the threshold between reality and fiction, Korea and America, and past and future, becomes their true 'home' where they incubate and precipitate "nation in transformation" that Yan Haiping argues for as "another transnational."

• The Journal of the Korea Contents Association
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• v.20 no.4
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• pp.49-61
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• 2020

Recently, the convergence of genre-mixed collaboration and technology-mixed collaboration in performance art strategically fuses different goals and different properties, satisfying anticipated demand, and developing into experimental forms that bring out convergence contents of new value. To supplement problems of convergence attempts and heighten levels of completion, the effective collaborative processes of media experts must be studied and improved. This thesis attempts to study effective collaborative production plans of convergence performance that correspond to the demands of the times through multimedia convergence performance prototypes(Live performance play + Pre-made digital animation). It categorizes performance production processes into pre-production and production and researches the effective collaborative production processes of convergence performances that utilize these two forms of media through work selection, production direction establishment, human resource constituents, production schedule plan establishment, visualization processes, and performance practices and rehearsals. Continuous research must be conducted based on convergence performance contents planning, changes in production methods, and an understanding of distinct characteristics among convergence contents for the industrial development systemization and vitalization of convergence contents to be made possible.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.51-84
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• 2012

In Korea, historical plays took an epoch-making turn from the previous historical plays in terms of approaches to topic and material and methods of rewriting history in the 1990s. Historical plays became dehistoricized with individual, everyday life, and faction emerging as major codes of historical plays according to mistrust in history and grand narrative as the original and disappearance of trust in the growth and totality of history. A new trend became dominant of presenting fictionality prominent instead of reproduction of history and freely playing with history outside the context. While modern historical plays were subject to the content of history, post-modern historical plays sought after new history writing to tell a new story on history within a framework of fiction. Focusing on some of the trends in post-modern historical plays since the 1990s, which include play with history, daily life-style history writing, and reproduction patterns of colonial modernity, this study examined the goals, representations, and text strategies of new history writing in three historical plays, Generation After Generation(2000) by Park Geunhyung, The Mercenaries(2000) by Park Sujin, and Chosun Detective Hong Yunshik(2007) by Sung Giwoong. In Generation After Generation, the author adopts a plot of starting with the present and tracing back to the past, breaking down the myth of racially homogeneous nation. At the same time, he discloses that the colonial history is not just by the oppressive force of Japan but also by the voluntary cooperation of Korean people. That is, we are also accountable for the colonial history of the nation. The Mercenaries contrasts the independence movement during the colonial period against the modern history developed after Liberation, thus highlighting the still continuing coloniality, namely post-colonial present. The past is presented as the "phantom of history" making its appearance according to the request of the present hoping for salvation. The author politicizes history and grants political wishes to history by summoning the history by personal memories such as fictional diaries and letters with Messiah-like images opposed to the present of collapse and catastrophe. In Chosun Detective Hong Yunshik, the author makes an attempt at the microscopic reproduction of daily life by approaching the 1930s as the modern period when capitalist daily life started to take root. The lists of signs comprising daily life in colonial Gyeongseong are divided between civilization and savagery and between modern and premodern. With the progress of narrative, however, they become mixed together and reversed in the representation system in which the latter overwhelms the former.

• Journal of Digital Convergence
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• v.15 no.4
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• pp.395-403
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• 2017

Narrators used to take an important role in the theatre of ancient Greece. They gave the audience an important information, explained the situations and conflicts between characters by talking to the audience directly. But in the realism play in the 20th century, which is represented as the 'fourth wall,' anything that can interrupt commitments of the audience such as a narrator, was excluded. However the two representative playwright in the 20th century, Thorton Wilder and Arthur Miller took narrators in their plays, Our Town and A View form the Bridge. This study shows why they adopted narrators in their play, which was unusual at that time and how this form of narrator affects to the meaning of the plays.