• 한국안전학회지
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• 제29권6호
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• pp.22-27
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• 2014

The market of performance arts industry such as concert, musical and opera etc is now expanding in Korea. However, the inadequate safety management in theatres often causes some accidents. The guarantee of safety in theatres is very important since the accidents in theaters can lead to many casualties and serious property damages. In particular, the small theatres which have no obligation of safety inspection by law are very vulnerable to safety mattes. This study has done the research into the improvement of safety in small theaters through the inspection and analysis of their safety status. For the purpose, this study has inspected and analyzed the safety status of small theaters over 120 in the field of theater management and operation, fire protection, electrical facilities, ceiling structure and etc. Moreover, this study had investigated the law and technical standards related to theatre safety. This study shows that the essentials to make sure of the safety in small theaters are (1) the education to improve the sense of security of people who work in theaters (2) the training to strengthen the operating skills of the facilities in theaters (3) the cooperation and support of the related organization such as technical research center, central and local government.

• 한국연극학
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• 제40호
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• pp.207-237
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• 2010

Concentrating on the birth, life, and death of the Living Theatre, almost half a century avant-garde group, the primary purpose of this study at large is to explore its counter-cultural philosophy. While taking a chronological form adapting the biological order, the paper focuses on the troupe's productions: , , , , and . Through out these productions the philosophy of the Living Theatre seemed to included communal, anti-intellectual, politically radical, generally Utopian, and proselytizers for sexual freedom. The history of the Living Theatre interestingly parallels the history of the Beck's theatre in occupation and shut down. The first New York theatre was closed by fire inspectors for instance. The second theatre was declared unsafe, and locked up by the Building Department. The third theatre was seized by the IRS, consequently shut down. In 1984, after more than 25years from the third building, the Living Theatre settled once again on East Third Street in Manhattan. The theatre was however evacuated by the New York City Fire Department in 1993 and once more took to the road. With these struggles, the Becks' profound aspiration of the counter-cultural insurgency came to harden as strong as 'iron' in some ways. With the outstanding components of counter-cultural philosophy and style, the Living Theatre, in the course of the transformation, absorbed and then reflected virtually every phase for the Living Theatre were vehicles for more than just aesthetics. The group seemed to propagandize its beliefs rather performing productions. Accordingly, both on and off-stage action of the Living Theatre caused great controversy either through political activism of individual members or through the unconventional collective life style. No avant-garde theatre company was more emblematic of the rebellious spirit of the sixties than the Living Theatre. Like the first great transformation, the Becks' encounter, their personal values and the form of theatre they created had blended 'so inextricably that the vitality of each was dependent on the other.' The Becks always urged unity and harmony at all levels of human life, but not at any price. The anticapitalist ideal inspired the Becks to promote a politically motivated campaign throughout their productions. They believed the revolution is desirable but in the state of non-violence and the expansion of human consciousness. Julian Beck's gravestone identifies his as pet, painter, actor, and anarchist. The Living Theatre was a 'small umbrella' under which the Becks and its members could breath and unfold their dream on stage or in the street.

• 복식
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• 제54권7호
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• pp.27-40
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• 2004

The purpose of this paper is to make it easy to reproduce the Pattern and sewing technique of men's coat in 18th century. which are modified in order to be made readily available in Korean theatre costume. The investigation was performed in three steps. 1st, The papers and records about development and change of men's coats were reviewed. End; The whole process of the way how to make a typical 18th century men's coats were sewn. 3rd ; The modification or revision into the more simplified pattern using by CAD system and sewing technique were suggested in detail. The size of the pattern in the original one, which we chose for this research, was generally small. with the side line being moved back a little. Moreover, arm movements were severely restricted because of the small arm-hole. The problems of original pattern were corrected by making both front and back pattern snug and side line being moved to the front, and making arm-hole wider. In the sewing technique, the simple way how to use of Padding, inter-linings and linings and to create the most noticeable figure of 18th century men's coat. This article may help theatre costume production in Korean performing art.

• 한국경제지리학회지
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• 제10권3호
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• pp.263-280
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• 2007

최근 세계 여러 나라에서 문화 예술 활동의 진흥을 통해 지역경제를 활성화하고, 지역의 정체성을 강화하는 한편, 주민들의 삶의 질을 제고하고자 노력하고 있다. 특히 선진 공업국들은 제조업의 침체로 인해 도시경제가 쇠퇴하고, 도시기반시설이 노후화, 혹은 유휴화되는 상황에 직면하여 문화활동을 진흥하여 그러한 문제를 해결하고자 하고 있다. 본 연구에서 취급하고자 하는 캐나다 온타리오 주의 스트랫포드는 제조업의 침체에 대비하여 이미 1953년부터 셰익스피어 작품을 소재로 매년 연극축제를 개최하여 북미 최고 수준의 극단을 보유하고 연간 약 60만 명의 관객과 200만 명의 관광객을 유치할 수 있게 되었다. 스트랫포드 시는 또한 이 사업을 통해 북미 전체, 혹은 세계적으로 알려졌고, 문화산업 클러스터를 형성하여 지역경제도 활성화시켰다. 본 연구는 스트랫포드의 이러한 성공 사례를 분석하여 한국의 문화산업 정책에 시사하는 바를 도출하는 한편, 문화 예술 활동의 활성화 과정을 유도하는 혁신주체는 무엇인지, 그들간의 관계는 어떻게 설정되었는지를 규명하고자 한다.

• 비교문화연구
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• 제33권
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• pp.95-120
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• 2013

This study is about small theaters in Paris which produced the theater of the avant-garde(or theatre of the absurd) in the 50s. Paris was at the center of astonishing passion by small theaters in terms of spectacle. Small theaters actively embraced young actors/actresses, theater troupe and playwrights who created a new way to express their plays. They were mostly obscure but showed talent and genius. So playwrights came from abroad such as E. Ionesco, S. Beckett, A. Adamov and others were able to create a new type of comedy and experience theatrical realization. On the other hand, a great many drama creators such as R. Blin, N. Bataille, J.-M. Serreau, J. $No{\ddot{e}}l$ and others appeared. We focused on studying about life of small theaters in Paris as mentioned earlier. The space of representation were limited. They were mostly about ridiculing of dramaturgy of comedy and theatrical realization. The substandard situations and conditions of small theaters fell far short of advantages of spectacle. Some of the theaters - Babylone, Noctambules, Nouveau Lancry, Quartier-latin - have not been able to survive up to this day. Other Theaters - Huchette and Poche-Montparnasse - have been able to last by performing creative activities. The theaters of the avant-garde are historic places of Drama Art. It is quite astonishing that some of the monuments did not last any longer. These were the places where La Cantatrice chauve by Ionesco and En attendant Godot by Beckett were premiered. When will they be restored to their original state? Meanwhile, the theater of Huchette have performed the comedies of Ionesco for last 60 years without a break. It becomes the museum of theater of the absurd that is the cradle of modern play. In conclusion, a great many play creators like playwrights, directors and set designers saw the light of day because of small theaters when there were not enough support fund. Their passion and curiosity still make us look forward to emerging of new drama.

• International Journal of Costume and Fashion
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• 제7권2호
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• pp.64-75
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• 2007

This is a project presented to obtain Master of Fine Arts degree in Costume Production. The candidate has to present 20 costume illustrations and four full constructed costumes for selected actors. At the presentation, the candidate is given 45 minutes to present followed by questions asked by the committee and audiences and it was presented and exhibited in Brookline Arts Council. The thesis consists of two parts; research and analysis on the play, and the result of the design and production for the $play^{1)}$which consists of four fully built costumes-two in chosen fabrics and the other two in muslin with full closure worn on selected actors for each character. The period for the costume design is the Elizabethan period, the actual period the play Hamlet was written in England. The play Rosencrantz and Guildenstern are Dead is a play written in 1967 from a view of two small characters from Shakespeare's play Hamlet. So the costumes of Hamlet's characters are in full period, but the main two characters' costumes will have some of modern twists.

• 한국엔터테인먼트산업학회논문지
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• 제15권4호
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• pp.141-155
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• 2021

본 연구는 벨기에 출신의 연출가 이보 반 호브(Ivo van Hove, 1958~)의 연출적 시노그래피의 특성을 고찰하고 그의 연출작 <파운틴헤드>(The Fountainhead)를 통해 시노그래피의 수행적 실제를 규명하는 것을 목적으로 하고 있다. 반 호브는 파격적이고 화려한 무대 연출과 관객참여를 동반한 작품 <로마 비극>(Roman Tragedies)을 통해 전 세계적으로 명성을 떨치게 되었다. 그의 공간적 특성들을 자세히 들여다보면 작품의 정수를 담아내면서도 관객의 수행적 전환을 이끌어내는 요소들을 발견할 수 있다. 따라서 반 호브의 대표작들의 수행적 공간 특성에 관해 상세히 고찰하고, 이것들이 작품 <파운틴헤드>에 어떻게 적용되었는지에 관해 논의하고자 한다. 이 작품은 반 호브만의 공간 연출의 특성을 드러내고 고유한 무대 언어를 보여주고 있으며 그의 독창적 연출미학을 공간에 투영한다. <파운틴헤드>의 공간적 특성을 네 가지로 나누어 고찰하였다. 첫째, 상호 병립하는 미디어와 아날로그의 현존의 공간, 둘째, 에너지로 채워진 배우의 물질성의 공간, 셋째, 새롭게 활성화되어 배우와 관객이 신체적으로 공동 현존할 수 있는 공간, 넷째, 환유작용을 통해 살아 움직이는 내러티브의 공간이 그것이다. 추후 반 호브의 공간미학에 대한 활발한 연구가 이루어지길 바라며 본 소고가 그의 연출적 시노그래피 연구의 작은 시발점이 되길 바란다.

• 한국의상디자인학회지
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• 제15권4호
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• pp.1-15
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• 2013

The stage costume in theater, along with the stage art, is the element that has the biggest visual effect in helping the audience to understand the theater. Nevertheless, in the domestic theater production system, compared with the other public performance products, the stage costume has been rented or purchased due to the lack understanding of the importance of the stage costume and budget problem, and thus the role of the stage costume has been undervalued. Such a phenomenon is more noticeable in the small scale theater. However, in this play White Neutral Nation (Original: Andorra), the production team and the directing team recognized the importance of the costume in the early stage of production, and accordingly lots of efforts, such as staff meetings and budget allocation, were made for the stage costume. As a result, the entire production process of the stage costume could be examined. Recently, performance culture in Korea has made rapid progress and diverse forms of public performances are created and planned. Accordingly, the level of audience has been rising and the interest in the stage costume is also rising. So, it can be said that not only the stage costume but also the production system that makes it are important. This research examined the production process of the stage costume only of the play White Neutral Nation but it is considered necessary to make researches on the production process of the stage costume used for the theater of different themes and public performances of different kinds and to systematize their production process of the stage costume.

• 한국실내디자인학회논문집
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• 제19권3호
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• pp.172-179
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• 2010

The Sydney Opera House is built on a peninsula of rock that juts out into Sydney Harbor. The site was once a landing place for ships. Utzon, Architect, designed the theatres for the Opera House to fit the shape. The two theatres were placed side by side so that they both had extensive harbor views. The Sydney Opera House is designed the foyers to take full advantage of these sights. Because the building would be seen from all sides, even from above, it was to be a piece of sculpture. The outside was as important as the inside. The audience enters from behind the stage and walks around to the foyers overlooking the harbour. The wing and backstage areas are small because of the way the foyers wrap around the theatre. The stage is made up of large platform lifts which provide the vertical movement for changing scenery. The sets come up from the workshops below stage. The flytower fits under the largest roof shell and doesn't break the skyline. The important elements are the podium, the shells and the reminders. The podium, the huge monolithic concrete structure, contains hundreds of rooms and nearly all the technical equipment. The podium is clad with pink granite slabs and seen from the water. This design eliminated a maze of fire escape stairs and, at the same time, gave people a wonderful view of the harbour. The egg shell is remarkably strong and express the form as the symbol of the site.

• 공연문화연구
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• 제32호
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• pp.651-700
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• 2016

21세기 동시대공연의 화두는 단연 '관객의 참여'이다. 런던은 2000년대부터 관객의 중요성을 인식하고 국립극장에서부터 먼저 나서서 공연을 라이브로 상영하는 획기적인 방식으로 새로운 관객 찾기를 시도하고 있다. 또 극장의 경계를 넘어서 '버추얼 시대'에 맞는 극장으로의 변화를 모색하고 있다. 이런 국립극장의 변화는 다른 극장과 공연에 영향을 주게 되고 이에 따라 다양한 장르에 관심 있는 적극적인 '관객찾기'에 열중하고 있다. 이런 노력은 관객이 직접 이동하며 창의적으로 내러티브를 구성해 가는 '관객참여'형 공연의 등장을 만들어 낸다. 즉, 기존 공연의 관습적인 관람방식에서 탈피하여 일상의 모든 공간을 무대로 사용하는 환경연극(environmental theatre)이나 전통적인 무대에서 벗어나 그 공간의 '장소성'을 기반으로 하는 장소특정적 공연(site-specitic performance) 등 다양한 시도가 나타나고 있다. 그에 따라 많은 실험적인 극단들이 나타났는데 본 연구에서는 그 중에서도 기존 공연의 관습적인 관람방식에서 탈피하면서 동시에 기존 공연의 관객성을 유지하며 '새로운 관객참여의 가능성'을 보여주고 있는 펀치드렁크(Punchdrunk)극단에 주목한다. 이들의 시작은 런던의 무용학교 졸업생들이 방학기간 동안 운영되지 않는 학교를 무대로 공연한 작은 실험극에서부터이다. 그런데 초기 3명의 관람객이 7년 만에 런던의 '주류극단'이 되고 10년 만에 미국에 진출, 6년 동안 현재 뉴욕에서 장기 공연을 하며 엄청난 인기를 누리고 있다. 지금까지도 전석매진을 기록하고 있는 놀라운 성과를 기록하고 있다. 본 연구에서는 펀치드렁크 극단이 이처럼 성공할 수 있었던 이유를 관객이 경험을 만들어가는 수행주체로 전환시킴으로써 공연의 극적요소를 극대화했기 때문이라고 본다. 그러므로 본 연구에서는 펀치드렁크 극단의 극적요소의 특성이 어떻게 관객을 참여시키고 있는지에 대해 분석하는 것을 목적으로 한다. 이를 위해 현재 이 극단을 대표하고 있으며 가장 큰 인기를 끌고 있는 를 분석대상으로 삼았다. 또 구체적인 분석을 위해 관객을 총 3단계 'narrative visitor', '걸어 다니는 관객', '가면을 쓴 관객'으로 구분하고 그들이 펀치드렁크극단의 공연환경에 적응해 나가는 변화에 대해 집중적으로 분석하였다. 첫 번째 단계인 'narrative visitor'에서는 Louis Marin의 디즈니테마파크의 3단계 진입론을 적용하여 분석했고 두 번째 단계인 '걸어 다니는 관객'에서는 질 들뢰즈의 노마디즘을 적용하여 분석했다. 그리고 세 번째 단계인 '가면을 쓴 관객'에서는 관음자됨을 중심으로 분석하였다.