• (The) Research of the performance art and culture
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• no.39
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• pp.223-277
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• 2019

Based on the text reference from the Variety Theatre compiled and performed by the Jiaofang of the Ming Dynasty Palace, the characteristics of Zhongkui performance in the New Year Ceremony was analyzed focusing on the differentiation and diachronic change in aspect between court dance and civilian. In China's folk beliefs, 'Zhongkui' is regarded as a representative spirit of fighting against evil spirits. Relevant rituals and performing arts have been held mainly on New Year's Eve or the Dragon Boat Festival. Although extensive research has been conducted in various fields, the situation of Zhongkui performance was largely unnoticed, only generally addressed in China, even with the given fact that the Ming Dynasty's text reference of miscellaneous court dance was exclusively retained, Therefore, the analysis intends to propose Zhongkui performances of Calendaric Rituals in the aspect of its elements and differentiate the play handed down among people as a specific example. Through the text analysis of miscellaneous court dance, 'Imperial examination' and religious belief was regulated usuriously by a so-called edification expressed as imperial reign ideology extracted to an implementation situation, revealing that this court dance was characterized by a variety of performances including the 'Zhongkui'. The results of the following study intends to provide a positive foundation for not only the field of Chinese studies but also the field of Korean literature, theatre, dance, folklore, religion, anthropology and art.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.8
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• pp.5250-5259
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• 2015

The purpose of this study is related to the performing arts with a focus on early childhood play and drama activities carried out studies to analyze the phenomenon of a certain period of time. We use bibliometric analysis as a research method and analyze researches(65 theses, 15 academic journals total 80)which is published by Feb, 2015 as subjects. The research results are as follows. First, the analysis result by published year says that theses is most done in 2009, academic journals is done about 3 times in 2008, 2013. Second, quantitative study is more done than qualitative study in study trend, especially experimental study of quantitative study. Third, about study objective and effect verification, study about active-centered integrated curriculum and creativity is usually done as study objective. And effect verification is effective generally according to study problems. Fourth, difference verification according to quantitative analysis method is most done as data analysis method. Fifth, researches whose subjects are 5-year-old children is mostly done. So this study enabled the study of theater and the performing arts around the infant drama activities and seeks to provide a basis for more effective leverage over them.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.163-174
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• 2020

The purpose of this study is to derive the characteristics of the creative process of convergence performing arts. Therefore, the PADAF-Play and Dance Art Festival, a representative convergence performing arts festival in Korea that has been held steadily every year since the first event in 2011, was selected as the subject of the study. Through PADAF, a representative convergence performing arts festival in Korea, qualitative case studies were selected through process-oriented discovery to study the characteristics of the creative process of convergence performing arts, which is a key feature of performing arts in the 21st century. For realistic and empirical research, the 8th and 9th PADAF participated in the entire process from the initial stage of preparation to the closing ceremony and conducted several in-depth interviews with PADAF officials and participating artists. Looking at the characteristics of the convergence performance art creation process through PADAF, creators overcame difficulties that they had not thought of in different ways in the process of meeting different heterogeneous genres, but through understanding other genres, experiential values through convergence, sharing as collaborators, and various ways of communication. The characteristics of the convergence performing arts creation process, which is focused on PADAF, are "Rhizom thinking" by French philosopher Gilles Deleuze(1925-1995), "Collective intelligence," and "Experimental Value for Experimental Creation" by creators. Through this derivation, we will help the changing performing arts scene based on the basic human desire to understand convergence performance art a little more and communicate through the extended expression of convergence.

• Iberoamérica
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• v.21 no.2
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• pp.25-52
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• 2019

Esperpento denotes a literary style in Spanish literature first established by Spanish author Ramón María del Valle Inclán that uses distorted descriptions of reality in order to criticize society. And esperpento's narrative strategy is similar in many ways to Mikhail Bakhtin's carnivalism. Especially Valle Inclán's first esperpentic theatre, Luces de Bohemia contained various carnivalistic elements of Bakhtin. The various techniques of Valle Inclán's esperpento used in Luces de Bohemia can be explained by Bachchin's carnivalist techniques. Therefore, this paper aims to re-examine the esperpentic techniques in Luces de Bohemia of Valle Inclán in terms of Bakhchin's carnivalism. Because the esperpentic tecniques of this play pursue the subversion of power or authority through the carnivalistic aspects such as polyphony, subversion of seriousness, parody, grotesque realism, plaza, ambivalence, anomalous structure of space, time and plot, etc. Esperpento and carnivalism serve as a tool to interpret the social reality, beyond criticism and satire of Spanish society. The characters act passively on all the external factors that determine human destiny, rather than actively carving their own destiny like the classic heroes. Modern man cannot defy or control the external situation of the modern civilization. So they are tragic. In this situation, the protagonist of the tragedy who challenges reality disappears and a puppet figure like Max Estrella, the protagonist of the Luces de Bohemia, takes his place on a satirical level. This is the satire and the true meaning of carnivalistic humor that Valle Inclán tried in his play.

• (The) Research of the performance art and culture
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• no.41
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• pp.69-92
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• 2020

This study describes the impact of early childhood teacher's artistic competence on art education pedagogy and improved curriculum design. Furthermore, the effect of drama as a way of improving early childhood teacher's artistic competence is explained. Many researchers have mentioned that early childhood is a period of sensitivity and potential. Therefore, it will be helpful if children meet a teacher who understands them and inspires their innate artistic sense at a level of their eyes. It explained which aspect of artistic competence should be focused for the teacher training education. There are many approaches to develop early childhood teachers' artistic competence. Adopting drama is one of them. The strong points of drama to improve their artistic competence are as follows. Firstly, human's movement and voice are the main artistic channel in drama. What we are doing in daily life is found are drama world. It means if early childhood teachers experience drama activity, they will feel more comfortable and intimate with it. In addition, early childhood teachers tend to be familiar with dramatic play, so they can more easily access to drama world. Secondly, drama will be helpful to understand different feelings and to broaden and deepen understandings of others' standpoints. For early childhood teachers, drama activity will be helpful to understand how dramatic art form works and to lead children's play in diversified and sincere way. In addition, drama activity will be useful to build horizontal and democratic relationships between children and the teacher. It is one of the main emphases of 2019 revised Nori national curriculum. To sum up, drama will be a excellent method to develop artistic competence for early childhood teachers. Thus, it is expected that They have more opportunities to experience drama as an art form.

• (The) Research of the performance art and culture
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• no.18
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• pp.449-480
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• 2009

In this paper, I tried to study the change of the Chinese performing arts market during the 10th 5year development plan, from year 2001 to year 2005 by both of the quantitative and qualitative analysis, because it's really the time when we need to understand the growing market of chinese culture along with the development of the Chinese cultural industry. During that period, the Chinese government developed the policy to establish a healthy cultural market and strengthen it's cultural power; the parts who product the piece of performing arts including the performing troupes, the theatres and the production companies were consolidated and became familiar to market through the reformation of the organization; and the audience who consume the performing arts and entertainments still shows very Chinese characteristics in the cities and villages. In the village, the audiences invite the troupe to play their local theatre in many occasions of their life according to their traditional beliefs, also somehow to show their wealth. The fact that the local governments and the companies are very important consumer groups in China is also very 'Chinese' characteristics. It means that Chinese performing arts are still more or less under the influence of the political ideas. Nonetheless it is worthy of notice that Chinese performing arts not only develope the new contents in very creative way and also try to learn the knowhow of the excellent items of foreign countries by inviting them to the festivals or organize a co-productions on the basis of the upgraded cultural power through the 10th 5 year development plan.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.6 no.8
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• pp.381-398
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• 2016

This study explains how Cultural-art organizations contribute to development of cultural diversity at this time of paradigme of cultural diversity. The object in this study 'Garam' which is a cultural art organization is comprised of people from multicultural families. The organization has been continued in unwanted environment. The very fact that this organization, as a group of people of multicultural background, has maintained its influence for a while indicates the possibility for the settlement of cultural diversity as a new paradigm. This research has proven that how various cultures can co-exist with korean culture through couple of methods. One is doing interviews with people who are involved in such field. And the other one is monitoring specific process or steps of how is the organization that deals with cultural and artistic subjects founded, operated and works. Accordingly, based on the operational factors and executive matters of the organization, the role of this multicultural theatre group was confirmed. This study's explication about the possibility of development of cultural diversity focuses on field activities with the recognition of limited effectiveness of institutionalized associations. Also, it analyses how realistically cultural art organization contribute to development of cultural divetsity, and what factors hinder the development.

• (The) Research of the performance art and culture
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• no.32
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• pp.71-106
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• 2016

This study analyzes the current work of the traditional theater around 'Back Parkcheomji(season2)' of theatre troupe 'Saninomou'. 'Back Parkcheomji(season2)' has proved that it is possible modernization while at the same time preserving the traditional theater. As a result, 'Back Parkcheomji(season2)' regained the spirit of contemporary social criticism and reality inherent in Kokdugaksinorum. The performance are beyond the traditional production method, which has created a new performance aspects. 'Back Parkcheomji(season2)' has created the puppets like this 'Kimga' 'Seweolho' 'Ryukbang' 'Chourani'. Traditional and creative dolls has criticized our modern society at the same stage. On the other hand, plays such as tightrope, Pungmul, Burna confirmed the spirit of Namsadangpae, and gave a dramatic fun. 'Back Parkcheomji(season2)' has dual stage. The dual stage will produce a magnificent spectacle, and has provided a variety of attractions. 'Back Parkcheomji(season2)' re-created the traditional theater of Namsadangpae in vivid contemporary version. The performance has made the opportunity to think again about the value of classical and allowed to recognize the new phase of classical theater.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.12
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• pp.1761-1771
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• 2007

The artificial exaggeration of stage costumes is thought to be one of the major techniques of enhancing dramatic expression on stage, whichever for visual impact or symbolic effect of dramatization. In the history of stage dressing, a variety of styles has been tried using different materials and production techniques. This may be reviewed as an effort to express dramatic effects more effectively. As this trend became obvious in Europe after the Second World War, this study analyzes the stage costume to deepen our understandings of the role of costumes in expressing dramatic effects. To accomplish this, we first summarized the history of stage costume materials and technical advance and chose five major cases representing the history of stage costume since the Second World War in Europe based on aesthetic and creative aspects: 1) Simplified stage of Jacques Copeau, 2) Stylized stage of Bertolt Brecht, 3) Essential stage of Grotowski, 4) Measured stage of Robert Wilson the Master, and 5) Post-dramatic stage of Philippe $Decoufl\'{e}$. In each of particular case, the historical, material and dramatic contexts were examined as well as different material-effects. The results are as followings: 1) Costume for Copeau's simplified stage: its simplicity plays a supporting role to the gesture of actors(intensifying effect). 2) Costume for Brecht's stylized stage: the artificial stylization integrates into the play with the importance approximately equal to the actors's acting. 3) Costumes for Grotowski's essential stage: costumes disappeared to emphasize only actor's presence on stage. 4) Costumes for Robert Wilson's measured stage: costumes made concrete impression to the extent of obtaining the same importance of actor's body among other stage art elements(lighting, sound, props, actor, text, etc). 5) Costumes for Decoufle's post-dramatic stage: costumes in the era of multi technology possess multi functional aspects that surrogate actors' body. This study suggests that stage costumes take an important part in dramaturgy to the extent that the intent of dramaturgy can be induced enough from stage costume. Thus, costume makers are expected to incorporate the appropriate dramatic factor more than before.

• Sim-seong Yeon-gu
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• v.26 no.2
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• pp.149-188
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• 2011

This thesis presents the research of analytical psycholoy in respect of Jindo Dasiraegi. In a funeral of Jindo, situated in the southern island of Korea, there is a theatrical performance which is called Dasiraegi(rebirth). This research manifested a basic, universal meaning of psychological approach related the implicit of death in performing theatre from a analytic psychological point of view. The characteristics of this theatrical feast are like these ; 1) funeral festival 2) entrance of clown(the existence of antipole and conflict) 3) eroticism 4) active participation of female character 5) difficulty in her delivery 6) the moment of joy thanks to childbirth. The prerequisite of this feast should be a propitious mourning of person dying old and rich. That is, after having a complete life, it could be an entire death. Three main roles in Dasiraegi ; a bat-blind buddhist devotee, a strolling actor teasing men, an apostate monk, theses characters lock horns in a form of triangle conflict relations, then they keep a balance with a fake mourner as a protagonist , modulator and narrator. These characters are indeed clowns who manifested a metaphor as a decent, sacred and reasonable part of shadow regards group consciousness. The alive and the deceased, mourner and fake mourner, piety and confusion, wail and laugh, silence and grumble, death and birth, diverse antipole all coexist then theses are in harmony. The blind devotee and the monk are in antipole, the entertainer(anima) provokes a conflict between them. The infant is a solution as same as a result of conflict. This conflict seems to be eased by birth of a baby which is a symbol of wholeness(ganzheits) but the conflict of antipole is reenacted as insisting his parental right so this solution is leaving the baby to the chief mourner who is fourth character and the first beginning. Unconsciousness, hereby, is negotiating with appeared reality. The Images in unconsciousness are conscious and this new energy in unconsciousness is proceeding towards consciousness, then it became a therapeutic power for the loss of consciousness. Dasiraegi is the play of consolation much more for the alive than the deceased. The death signified not a loss but a resurrection and this intends a transition of new leading independent role for the alive. These make us have more prudent consideration concern the double sense of renewal for the dead and the alive. It is preserved as only a form of drama on stage after disappearance of Dasiraegi in a funeral recently. Dasiraegi was a manifestation of unconsciousness for compensation about the unilateral attitude of group consciousness to the strict death excessively. Therefore, this will enable reflect the relativeness and the attitude which regards the death as the end today.