• The Research Journal of the Costume Culture
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• v.17 no.5
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• pp.923-938
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• 2009

Since the end of 1960s, an era of internationalization, Interculturalism has been reflected in intercultural plays which borrow concepts of foreign-cultural aesthetics for the performance and create a new stage language. Among many writers and performers, Oh, Tae-seok created his own unique aesthetic performances through experimental and avant-garde methodologies connected with various areas of art. His plays are worth studying since they suggest us a point of view which helps us to get out of the ordinary, fixed thought and try to see variety of reality. Therefore, our study categorized Oh, Tae-seok's play into four areas according to grotesquery interculturalism : Evil sprit, Abhorrence, Exaggeration and distort, and Heterogeneity. Based on this category, we analyzed plastic artistic characteristics of his plays' stage costume, for example, shapes, materials, and color, and tried to enhance the aesthetic value of his plays. We made a conclusion that the play showed grotesquery features in stage costume, which represented death, tragedy, evil sprit of human negligence, surprising and grotesquery abhorrence by deformity of the body, exaggeration and distortion, ridiculousness, and heterogeneity, the mixture of abnormality and unstableness. Our study could help produce adequate stage costume matching the features of the performance, and be the cornerstone of grotesquery aesthetic interculturalism study reflected in stage costume.

• Journal of the Korean Society of Costume
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• v.58 no.4
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• pp.13-25
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• 2008

This study is on the various style and characteristics of mask, and was performed empirically by reviewing the related materials such as the literature, precedent studies, fashion works, and home and foreign fashion magazines. As a result of the study, the style of mask in the modern fashion is roughly categorized by full-covered style, half-covered style, and over-half-covered style which is covered over 50% of a face. And, mask is utilized on a hat or a dress all over, or is produced by a elaborate makeup. Mask with lots of variation has three big characteristics, which are sense of disguise, sense of ornamentation, sense of grotesquery. First, sense of disguise means deviation or tool of affectation instead of cultural standard norm through transforming or masquerading as an imagery person or animal in ancient myths, famous artistes, etc. It could be developed to express a designer's identity. Second, mask decorated with various styles and materials has sense of ornamentation, which means natural human desire of expression for beauty, and at the same time human mind longing for experience a fantastic and ideal inner world being deviated from the present world even indirectly. Third, ignoring the original format of eyes, nose, and mouth, using extraordinarily various techniques such as distortion, extreme, exaggeration, concealment, or combining with animal images, mask has sense of grotesquery inducing humor and horror simultaneously.

• Archives of design research
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• v.21
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• pp.109-121
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• 1997

The poster in America was considered merely a means of advertising until the late 1880s, and was not thought to have any intrinsic value. During the 1890s, the poster in America came into its own as a medium of artistic expression, and it was recognized anew as an medium of advertising. The production and circulation of posters became active, and it won the popularity of poster collectors. But the American poster renaissance flourished for a few brief years in the 1890s. In this thesis, I paid attention that the art poster in America was mainly a product of the publishing trade, and that it's rise and fall was connected with the circumstances of the publishing business. In chapterII, I discussed the growth of publishing business and the phenomenon of poster craze, and tried to figure out the characteristic of American poster design in 1890s. The American poster boom was formally initiated in Spring 1893, when Edward Penfield published the first of his monthly designs advertising Harper's Magazine. Penfield created a native American tradition of realism in the series of Harper's posters, his figures are realistic though anonymous, and are drawn without distortion or grotesquery, and details are reduced to essentials but not eliminated. In chapterIII, I discussed the change in book cover design in the 1890s. The rapid evolution of book and magazine covers was largely a reaction to the poster craze. Most magazines were issued with the same standard covers month after month at that time. In 1894, when William Bradley was asked to design a standard cover for the Inland Printer, he convinced the publishers to change the cover with every issue instead of designing one permanent cover. With the poster craze at its height, posters became big business, but still they were not very successful as advertisements. Because collectors of the 1890s were more interested in acquiring posters than in buying books. Significantly, this was also the moment when poster like designs began to appear on the covers of books and mass magazines. Publishers took notice of an idea. If the eye-catching design was on the cover itself rather than on a separate poster, the customer who wished to acquire the design would be obliged to buy the magazine. So there was no distinction stylistically between the posters of the 1890s and the magazine covers of the early 1900s. At the same time, the artistic poster was beginning to decline. While the most typical advertisements of the 1890s were the book and magazine posters of Bradley and Penfield, after 1900 advertisements for manufacturers' products played an increasingly prominent role. They would never again assume the leading role that they had played in the 1890s.