• 제목/요약/키워드: mask play costume

검색결과 11건 처리시간 0.022초

통영오광대 복식의 의도성에 관한 연구 : 대사를 중심으로 (A Study on Intentions of Tongyeng Ogwangdae Costume : Focused on dialogs)

  • 김초영;김은정
    • 한국의류산업학회지
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    • 제17권4호
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    • pp.541-549
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    • 2015
  • Korean traditional mask play was done at outdoor to let spectators join the play and take mask at performance and to have disadvantage of poor transfer of dialog to the spectators. Performers transferred dialog directly and/or indirectly by using visual costume, and Tongyeong Ogwangdae with many dialogue expressions concerning the costume made use of proper intention to help spectators understand. In this study, the author watched performance of Tongyeong Ogwangdae to collect and investigate not only image material but also photograph material and to classify intention of the costume into three: First, contents of the dialog were intended to make shape. The costumes of Hongbaek Yangban, Meoktal Yangban and Jorijung of the 2nd section gave spectators contents of the play, and the costume of Halmi Yangban of Nochangtal of the 4th section described dialog of Halmi. Second, dialog had connotative metaphor. The costume of Yeongno of Yeongnotal of the 3rd section symbolized an unfinished dragon, while that of Halmi of Nongchangtal of the 4th section did sacred of Halmi. And, Nongchagtal Ai's costume of the 4th section prayed for value of Ai, richness of the life and fecundity. Third, conflict between characters was intended by indirect media. The costume of Maltukee of metaphor mask of the 2nd section became base of the assertion supporting that Maltukee had better birth history than Yangban had, and the costume of Yeongnoyangban of Yeongnotal of the 3rd section produced conflict at disclosure of identity.

가면극 공연 의상 디자인 비교 연구 -한국 가면극과 이탈리아 코메디아 델 아르떼(Commedia dell'arte)를 중심으로- (A Comparative Study on Costume design of Mask Play -Focusing on Korean Mask Play and Italian 'Commedia dell'arte'-)

  • 임정미;소황옥
    • 복식
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    • 제64권8호
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    • pp.124-137
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    • 2014
  • The purpose of this study is to produce an essential guideline for making costumes for traditional Korean mask plays by doing a comparative analysis between traditional Korean mask plays and Italian 'Commedia dell'arte'. The results of this study are as follow. The costumes of Korea's mask plays were mainly used to show difference in social status. Analysis showed that costume features, such as color, fabric, and silhouette, were not important to the traits of the character. On the other hand, the costumes in the Italian 'Commedia dell'arte' were used to express the characters' traits. The colors, fabric and silhouettes were exaggerated compared to everyday wear. This enhanced the looks of the character, and it kept on developing with the demands of the culture consumer. This study was performed to support further development and success of traditional Korean mask plays.

코스튬플레이 패션에 대한 연구 (A Study on the Costume Play Fashion)

  • 이은영;백천의
    • 한국의상디자인학회지
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    • 제3권2호
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    • pp.75-86
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    • 2001
  • The article is alms to investigate the characteristics, the originality, and the interest of fashion design of costume play, which is recently specifically popularized among young fashion mania. The influence of commercialization power of the Disneyland and the animation characters of Japanese caricatures makes the costume play to be one of the main new generation culture. Since the costume play just begins at this moment, the full understanding of the costume play is hard because of the small amount of the materials and happenings of the phenomena. However it reveals the design trends and creativity of the new generation. As the investigation of costume play fashion and the types of costume play, the following results are obtained. 1. The originality of the costume play is thought to be induced from the mask which is used against the ghost in primitive ages, the fancy parade of halloween festival, commercial advertisements of Disneyland, the Japanese caricatures, and the animation games. 2. The distinctive characteristics of Korean costume play shows the massive behaviour, which is different from the individualized costume play in Japan. This facts show the parts of the interest culture of the persons who has the equal interest. The costume play is applied as the sound showing culture, in which the young generation express and enjoy themselves by"kki" - the passion of young energy. 3. The boom of costume play introduce the increased number of costume play shop, pro model, and designer. It also introduce the interest of the new fashion design for the young generations. Thus it is expected the new fashion infra structure in near future.ar future.

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한.중.일 전통극 복식의 소외효과(V-Effekt) 연구 (Verfremdung Effekt(V-Effekt) in Korean, Chinese, and Japanese Traditional Play Costumes - Focusing on masked drama, Beijing opera, and Kabuki -)

  • 이미숙;양유미
    • 복식
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    • 제60권1호
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    • pp.14-27
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    • 2010
  • The purpose of this study is to analyze how the aesthetic characteristics of Brecht's V-Effekt is visually expressed of the costume in the Traditional Play of Korea, China and Japan. The method and the contents of the study were to refer to the antecedent studies and the related documents to peruse the characteristics of the traditional plays of the East and West, the origin and the concept of Brecht's Verfremdung and considered the relation of Brecht's V-Effekt and the Oriental plays, and then the researcher derived the aesthetic properties of Brecht's V-Effekt. This study analyzed how those qualities of the aesthetic characteristics on the V-Effekt are manifested on the stage costumes of Korean mask, Beijing opera and Kabuki. The aesthetic qualities of Brecht's V-Effekt are classified into symbolism, grotesque disposition, character of sing and dance, comicality. The symbolism in the traditional play costumes of the three nations is shown in the colors of the masks in Korean and the tone of the colors on the costumes and the make-up in Beijing opera and Kabuki. While the properties of bizarrerie and deformation coexist in masque and Beijing opera costumes in terms of grotesque disposition, Kabuki strongly displays bizarre grotesquerie. The character of sing and dance is visually expressed through the transformation of sleeves on the three nation's traditional play costumes; Masque on the Hansam and Chengsam, Beijing opera on the Water sleeves and Kabuki on Hurisode. The comic aspection is expressed in a humorous and comical way through the distortion and transformation of forms in Masque and Beijing opera but it cannot be seen in Kabuki costume. The study as above will form the aesthetic properties of the Oriental traditional play costumes and also it will contribute to establishing the identity of Korean mask costumes.

양주별산대놀이 무대복식 연구 (A Study on the Stage Costume of Yangju-Byeolsandae-Nori)

  • 박민재;조우현
    • 복식
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    • 제67권1호
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    • pp.1-21
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    • 2017
  • The Korean folk drama is one of the traditional art performances of Korean folklore, and it is usually characterized by mask dances. An investigation on the costume of Korean folk drama is of great historical significance because they present the variety of typical costume according to the characters. The Sandae-Nori drama of Seoul Gyeong-gi province which was designated as im- portant culture property, has the closest form to general Korean folk costume. The usual characters have their typical costume and reflect the costume of the latter Choson Dynasty period. The costumes are used as a tool of the drama to indicate the character, and the impression of the dance. The costume of the Korean folk drama is made to indicate the character because it is for the play. What is more, the costume of the Sandae-Nori drama of Seoul Gyeong-gi province shows the general aspect of folk costume of the world, which remains as the symbol of the traditional culture and shows more decoration and visibility.

보가티료프(P. G. Bogatyryov)의 이론을 적용한 무대의상 연구 - 가면극 '소라별 이야기'를 중심으로 - (A Study on Stage Costume based on P. G. Bogatyryov's Theory - Focus on Mask Theatre "The Story about Sora's Star" -)

  • 김장현;김영삼
    • 한국의류산업학회지
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    • 제14권6호
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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.

한국 남해안 별신굿과 중국 귀주성 나희의 무속복식 비교연구 - 굿놀이를 중심으로 - (A Comparative Study on Shaman's Costume of south coast Byeolsingut in Korea and the Guizhou Nahui in China - Focusing on the Gutnori -)

  • 김은정;김초영
    • 한국의상디자인학회지
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    • 제18권3호
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    • pp.57-70
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    • 2016
  • Gutnori(ritual A Comparative Study on Shaman's Costume of south coast Byeolsingut in Korea and the Guizhou Nahui in China play) refers to a play in the form of showing actual appearance of god and actual comedic gag with gutguri rhythm. In order to carry out a comparison between the shaman's costume in Korea and China, this study will delve into the types of shaman costumes that are worn in the gutnoris(mask plays) performed in Korean guts and those of China performed in Nahui. As research method, literature reviews and field surveys have been conducted concurrently. In terms of literature reviews, previous research have been studied centrally. For field surveys, Korean gut, Byeolsingut performance was observed for 2 days 1 night between 1st Feb. 2014-2nd Feb. 2014 in the south coast and Chinese Nahui in Guizhou was observed for 2 days 1 night between 25th Nov. 2014-26th Nov. 2014. By comparing Shaman's costume that is worn in Korean shamanism with that of Chinese shamanism as a partial means of understanding the uniqueness of Korean shaman's costume, the following conclusion was derived upon focusing on the common types of gutnori costumes and organizing them. As a universal trait for shaman's costumes in gutnori and nahui in Korea and China, traditional clothing were worn. A unique trait for shaman's costume in gutnori and nahui in Korea and China, deity expressions were shown in both cases using colors.

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아힘 프라이어의 판소리 오페라 '수궁가(Mr.Rabbit & Dragon King)'의 공연의상 연구 (A Study on Performance Costumes for 'Mr. Rabbit & Dragon King', the Achim Freyer's Pansori Opera)

  • 유진영;이인성
    • 한국의상디자인학회지
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    • 제16권1호
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    • pp.105-115
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    • 2014
  • The costumes (including mask) of the first World Master series of The National Changguk Company of Korea, Achim Freyer's 'Mr. Rabbit & Dragon king' is directly designed by Achim Freyer who was in charge of direction and stage design. The new form called Pansori opera is proposed for modernization of Korean traditional opera, it maintained the original form of music yet introduced play form of opera. The costumes and stage also promoted modernistic transformation while maintaining the original Korean form. The overall concept of 'Mr. Rabbit & Dragon king' costumes emphasizes comical effect by abstractness like childlike scribble. It expressed characteristic of characters diversely through exaggeration and expansion while maintaining original form of Hanbok, used surface of costumes as a drawing board, and created flat and geometrically transformed silhouette. The complicated characters was caricatured like everyone is doing mask play by using masks, and it still maintained sophisticated oriental color with modern application of five cardinal colors. It may seems it just mixed our traditional elements like a hint of humor, however, it could be known that it introduced various techniques in it to deliver new subject while maintaining the original form of 'Mr. Rabbit & Dragon king'. From this study, open mind for our tradition and need for diverse attempt could be rediscovered and could also see the possibility to contribute on creating a Nation Brand of traditional performing art.

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조선시대 산대놀이 복식의 변모과정과 의복상징에 관한 연구 (A Study on the Transfiguration Process and the Symbols of Theatrical Costume of Sandai Masque During the Choson Dynasty)

  • 이일지
    • 복식
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    • 제54권2호
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    • pp.79-94
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    • 2004
  • The main purpose of this study is to discribe the transfiguration process and the symbols of theatrical costume of Sandai masque(산대놀이) during the Choson Dynasty. Sandai masque as a popular play is a very important form in the history of the Korean theatre. Furthermore in order to analyze the mutual relationship and difference between in the early and later Chosen Dynasty, Narye has is stressed deeply a national amusement event. In the early years of Choson Dynasty, non-official culture such as outside of Seoul and Seoul were subject to the official culture of the Court. In the late years, actors become more and more libral, separating themselves from the systemical restriction. The main reason for this is the growth of capitals in private sectors as well as the growth in demand for entertainment among private citizens. On these backgrounds, the transfiguration process of Sandai masque have changed the treatrical costume. The treatrical costume carries symbolic meaning to the obserber. The value of symbol changes as the time passes, overtime thereby altering its meaning as well. The caracters and plots change inevitably over years but the basic theme remains. The symbols of theatrical costume of Sandai masque are mainly focused on three subjects: first, the entrance of a dragon and tiger originated in the exorcism for good harvest; second, color symbolism expressed in the confrontation between red and black; and third, associate characteristics of dress forms related to regoinal classification of the mask dance.

한국 전통 탈의 조형성을 활용한 분장 디자인 - 거리 공연 '오늘 같은 날'을 중심으로 - (Make-up Design that Incorporates the Features of Traditional Korean Masks - Focusing on the Road Performance 'Day like Today' -)

  • 이정민
    • 복식
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    • 제59권4호
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    • pp.98-110
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    • 2009
  • Performance art is an integrated genre of different art areas, and make-up is a visual art area to give lively effects to the performance art, which makes actors and actresses changed into the characters of plays. It can be said to be a kind of deliverer of idea to help effectively understand the contents of the performance. When we are in the world abundant in various cultures and innumerable styles of expression of different countries, we should rediscover the value of the beauty of our traditional masks that have represented the emotion and thought of Han nation, which we can find in play culture of our ancestors that has kept our ancestors' value system. That's the way we can get continuous life force and competitive power of our traditional culture. The Korean traditional masks haven't only been for the prevention of bad luck and the prayer of fortune, but also well expressed Korean people's looks, features and personalities according to the roles. They are excellent artistic works in themselves, and many studies have been performed on the analyses and uses of the features of the masks in various fields due to their good expression of different cultural aspects, while the studies in the light of make-up are rarely performed. Therefore, this article aims to analyze the features of the Korean traditional masks and, by using this analysis, to present effective make-up designs in outdoor performances through a stage performance. In addition, this article also tries to present the orientation of make-up as an expression of artistic image, and to expand the expression area of make-up by using the Korean traditional masks in the light of make-up. For this purpose, I examined the related literature and the precedent study materials to find the origin and kinds of the Korean traditional masks, and analyzed the features of the masks. Furthermore, I established the make-up design plan using the material features of the Korean traditional masks by analyzing the characters in actual performance works, and presented the photos of works actually performed.