• (The) Research of the performance art and culture
• /
• no.19
• /
• pp.379-418
• /
• 2009

This study is a link in a chain which grope for the description of puppet performance history. This study imply my intention which is not a description of puppet performance 'history' but a description of 'puppet performance' history. Object materials of this study is materials connected with puppet performance from ancient times to Chosun dynasty. Object materials of this study include not only records but also remains and pictures. Discussion start with regulation of puppet performance materials and establishment of a classification criterion. As a result of that discussion, the age of puppet performance is as follows: 'the age of diverse use of puppet', 'the age of ritual puppet performance of worship', 'the age of play puppet performance of handling', 'the age of ritual puppet performance of display', 'the age of ritual puppet performance of expulsion', 'the age of ritual puppet performance of handling', 'the age of play puppet performance of display', 'the age of play puppet performance of handling and voice-acting'. According to the internal division of age, the description of puppet performance history which is spread chronologically is attempted. As a result of the description, I confirm that puppet performance reveal a one's unfolding process. And a distinct aspect from the general cultu! re history is found. The development process which is a changeover that is 'from ritual puppet performance to play puppet performance' is amended by a circulation of ritual puppet performance and play puppet performance'. And the development process which is a changeover 'from static puppet to dynamic puppet' is amended by a circulation of static puppet and dynamic puppet'. Like this the thing which is laid in the inside which is not a one sided changeover but is a circulation is said that from one age of puppet performance to other age of puppet performance is not a close of former puppet performance tradition. Unfolding from one age to other age, on the other hand former puppet performance reveal aspect which is a continuance and change with a one's vitality. And a relation of mutual influence is exist between the ritual puppet performance and the play puppet performance on a large scale, among the puppet performance types on a small scale. this also don't overlook in cas! e of a groping of puppet performance history.

• Korean Journal of Heritage: History & Science
• /
• v.35
• /
• pp.236-282
• /
• 2002

Among elements of play, there are puppets performances and shadows performance which are replacing actors by puppets and shadows. Puppet performance is characteristic of expressing various movements and symbols at its conveniences by the reduced models of human form with various materials. Shadow performance is realized in various colors that cannot be discovered in other countries by expressing mysterious cubic effect in reflecting the light against various forms. Mansukjung Nolum is a unique shadow performance that has been inherited in Korea. There are found many shadow performances inherited in the northern Europe and South-eastern Asia. Recently the silhouette animation in application of shadow performance is made. In the northern Europe and South-eastern Asia, they performed in white and black color while Mansukjung Nolum is performed in natural colors. Since they adopted the leather materials for making puppets, their opaque feature cannot reflect the colored light. But in Korea we adopted the specially colored semi-transparent Korean paper, which gives the colored shadows to spectators. Mansukjung Nolum consists of three acts for arousing attention of fallen monks destroying the teaching of Buddha. Seosanbakchumji Nolum is a puppet performance inherited in a village in Seosan, Choongnam instead of wandering artists. The story and form of performance in Namsadangpae's puppet play is mostly similar to it, but it is woven by its villages natural environment and specific dialects, reflecting their consciousness in mind. The villagers made the puppets and manipulate them in communicating their wisdom of life between them. Parkchumji Nolum is a kind of integral art combining puppet manipulation, witticism, songs and dances. The hero of Parkchumji discloses the social and structural conflicts of feudalism, in arousing the spectators' rich attention of self-awareness and lessons.

• Journal of the Korean BIBLIA Society for library and Information Science
• /
• v.21 no.1
• /
• pp.119-130
• /
• 2010

The development of library cultural programs provides educational information which can only be produced from library. It helps user's to recognize the value of library, and aims at expanding the usage of library information. This paper indicates "children puppet performance" is possible ways to find library identity in providing cultural programs, and suggests guidelines for managing the programs and supporting users.The program management section is divided into several aspects; user service, development of book collection, information service, and advertisement. In terms of user services, the paper suggests watching performances, exhibition projects, creation of related societies, puppet workshop training, and developing library cultural programs. In the development of library collections, the paper indicates usage of library resources, the effects of expanding book collection, education on information usage. In cooperating section, this paper will see the ways to connect library cultural programs to other cultural institutions.

• Korea Science and Art Forum
• /
• v.21
• /
• pp.437-449
• /
• 2015

The research aims to verify the effects of preference for science and self-directed learning ability of the science puppet show program that the researcher has developed as a STEAM education model. The results for conducting the survey with the same questionnaire before and after the program targeting the students showed that the science puppet show had effects on increasing the science related assignment performance will of the behavioral will among the three sub-dimensions including emotional respond, value cognition and behavioral will, but there was no effect on overall aspects of science preference. It can be interpreted as reflecting the characteristics of the scientific talents who already have a high level of preference for science. In addition, the three sub-dimensions including the cognitive regulation, motivational regulation and behavioral regulation had effects on the self-directed learning ability. Especially it had great effects on the directed learning ability of cognitive regulation, learning motivation of motivational regulation, tool application of behavioral regulation, and cooperation capacity which were greater for female students than male students. It is judged that the three-staged science puppet show program including the 'content integrating stage' that the students integrate the curriculum contents, 'integrated mission stage' of solving the visualization, auralization and performance missions by themselves, and 'process integration stage' of making the stage piece all together.

• Transactions of the Korean Society of Mechanical Engineers A
• /
• v.36 no.10
• /
• pp.1205-1211
• /
• 2012

A marionette is a moving puppet that can be made to perform several actions by pulling wires connected to the puppet. Because a marionette is operated by hand, a stage performance with a human-sized marionette is impossible. However, a marionette robot operated using a wire controller could be used as a human-sized marionette to conduct a stage performance with other robots or actors. In addition, by using mobile stages that utilize mobile platforms, a wire controller, and the marionette robot body, the large marionette robot system designed in this study can be made to rotate and translate freely in a stage performance. The feasibility of the structure of the marionette robot wire control system is verified by using dynamics analysis. Furthermore, the efficiency and safety of the robot is demonstrated by manufacturing and operating a prototype robot.

• The Journal of Korea Robotics Society
• /
• v.5 no.4
• /
• pp.326-331
• /
• 2010

Marionette controlling robot has a problem that generates interference in rotation and intersection, therefore, the research on the independent shifter to move freely on the stage is required. Connecting omni-directional mobile robot with marionette controlling robot can solve this problem. Omni-directional mobile robot makes itself rotate and translate in 2D plane freely. Magnetic device is used to connect the moving part with the control part of the robot to minimize the intereference generated by the movement of robot. When robot moves, it can move to all directions with the suitalbe setting of banlance power. The moment of inertia is minimized by dividing the robot to the upper and lower parts in the marionette performance stage. Rotation and interference problem of independent omni-wheel Robot can be solved by using the permanent magnet. The efficiency and safety of the marionette controlling robot is proved by the experiment.

• (The) Research of the performance art and culture
• /
• no.18
• /
• pp.137-169
• /
• 2009

This paper pay attention to silent puppets which appear in the traditional puppet performance. Not only movement of silent puppets which are involved with expression of body of the mime, but also various methods overcome limits of the silent are studied in this paper. Through the study of performance method and historic unfolding aspects, I confirm two main points. First point is that overcome limits of the silent, through the diversity of performance aspects. Second point is that silent puppets have been existed since the early stage of history, and show typical unfolding aspects on their way. Combining two main points, We can say that silent puppets go through continuous unfolding aspects on their way and have meaning of existence. The meaning of existence are that silent puppets seek deviant desire which deviate from everyday life and transcendental desire which seek a freedom through an imagination or an idea. It is interesting that the reasons of existence are associated with the emphasis of necessity which is encouragement of audience's desire and imagination that are necessary of accomplish of mime. After all, silent puppets say that diverse attempts which overcome limits of the silent are accomplished with the performance aspects and historic unfolding aspects, and through that sought unusual communication. Through the performance methods and signification aspects, silent puppets say that diverse groping for which maximize of audience's imagination, stimulation of imagination for audience's spontaneousness, and diverse groping for audience mind performance have been performanced as well. I think that those are the voice of silent puppets for activity of mime in the korea.

• English Language & Literature Teaching
• /
• v.15 no.4
• /
• pp.313-330
• /
• 2009

The purpose of this study is to investigate the metatheatricality of Harris' plays marked by the device of 'play-within-a-play' - Androcles and the Lion, Arkansaw Bear, and Punch and Judy. In his metatheatrical plays Harris shows that characters perform for themselves and others. The framework that inner performance is going on within the outer frame play is formed on the stage, and this device reminds the audience in the seats that they are representing reality but that they are only in the middle of performing on the stage. Based on this point of view, this study explores fictionality of character, and play. In Androcles and the Lion, the most-performed children's play in America, the metatheatrical elements are shown in the style of commedia dell'arte, which attacks the rigidity of characters' identity in the Roman society. Another well-known children's play, Arkansaw Bear consists of realistic frame play and fantastic inner play in the mind of a girl, both of which function as a mirror each other and help to sustain aesthetic distance to death and reality on the stage. In Punch and Judy, the structure of frame play and inner puppet play reminds that what's going on in the play is just a fictional play and reflects history of children's puppet show. Harris' unique metatheatricality, the heightened awareness of his own artistic medium, offers children educational opportunity to learn about how a play is performed on the stage and contributes to convey mature theme through children's imaginary participation in the process of playmaking on the stage.

• (The) Research of the performance art and culture
• /
• no.38
• /
• pp.297-347
• /
• 2019

Jie Jie Hao Yin 『절절호음(節節好音)』 is a script collection produced during the Qianlong's ruling Period which had one of the most flourished period of Qing Dynasty's Palace Drama. This script collection is consisted of 86 scripts of 6 Festival Court Plays: New year's day (元旦), Lantern festival(上元), Yanjiu festival(燕九), Snow appreciation(賞雪), Day of Kitchen god worshipping(祀竈), New year's eve(除夕). These scripts are effective records to study the New Year's Eve Drama of Qianlong Period. Jie Jie Hao Yin carry out the performances not only through Kunqiang (崑腔), and Yiyang Tune (弋腔), but also through various types of entertaining performances such as dance, masque play, puppet show, and story telling. Most of the songs were sung by various gods praising the era of peace as the holiday approaches. In the contents of revealing the luck to be brought by the holidays, it sought for the colorful transformations of stages through adding humoristique short stories or various feast genres in between the performance. It also tries to seek for diversities of stages through active application of acrobatics. It also portrays folk customs from BaiYunGuan's temple fair, Yanjiu Festival in YanBin, the Lantern Fair of Lantern Festival, and various activities of wet markets from New Year's Eve from diverse points of views. Especially through various shows and Chinese folk-art forms, the popular folk activities and entertainments near Beijing in the beginning era of Qing Dynasty can be observed. Jie Jie Hao Yin is a very important resource to look at the popular art activities of Beijing during Qianlong Period, and how the Palace culture accepted the folk cultures and applied to its own advancements.

• (The) Research of the performance art and culture
• /
• no.39
• /
• pp.581-607
• /
• 2019

Noting that exorcism play and mask play are different in their ritual nature, this paper aims to examine their ritual through the social drama theory of Victor Turner, a cultural anthropologist. Turner views every incident in human history as a social drama and interprets it based on the four-step structural theory of breach, crisis, redressive action, and reintegration. In particular, he believes that the redressive phase takes place through a ritual solution rather than a legal or political solution in the village community. Based on such Turner's theory, Chapter 2 analyzes Yeonggamnori, Jeju's typical exorcism play, and explains the process leading to reintegration in accordance with peaceful ritual. Chapter 3 then analyzes the Puppet Play on the same principle and examines that redressive action is being resolved through a sacrificial ritual in the case of this play. Chapter 4 checks whether the results from the previous two plays show similar aspects in other traditional plays. To this end, the exorcism play will be analyzed for Jeju's Seocheon Flower Play, Junsangnori, Segyeongnori and Sanshinnori, while the mask play will include Bongsan Mask Dance, Yangju Byeonsandae Play, Goseong Ogwangdae and Hahoe Mask Dance. As a result of these studies, it is the main point of the study to prove that exorcism play and mask play are different in their ritual nature. However, this research is only in the stage of seeking differences in its ritual, and the review on the historical and social causes of differences is left as a research task at a later date.