• 한국연극학
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• 제48호
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• pp.447-484
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• 2012

This study aims to analyze the characteristics of post-epic theatre in the Belgian theatre director Jan Lauwers' trilogy titled in "Happy Face/Sad Face": (2004), (2006) and (2008). I regard that it played a very important junction for him to create his own theatrical style compared to earlier years. From this period, Lauwers has tried to create his original plays in order to concentrate the story of our era and has showed to combine a variety of media such as dance, installation, video, singing etc. In this context, I would like to study his own theatricality from the three perspectives of dramaturgy, directing and acting largely based on Hans-Thies Lehmann's theory of post-epic theatre, who pointed out the significance of Lauwer's theatrical leading role very early. First, from the dramaturgical point of view, we need to pay attention to the theme of translunary death; where the living and the dead coexist on the stage. In fact, death is the theme that Lauwers has been struggling to research for quite long time. In his trilogy, the dead never exits the stage. The dead, who is not a representative tragic character, even meddles the things among or with the living and provide comments to people. As a consequence, it happens to reduce a dramaturgical strong tension, leads depreciation of suspense and produces humanism in a way. This approach helps to create his unique comical theatrical atmosphere even though he deals with the contemporary tragic issues such as war, horror and death. Second, from the directing point of view, it is worth to take a look at the polyphonic strategy in terms to applying various media. Among all the things, the arts of dancing and singing in chorus are actively applied in Lauwer's trilogy. The dance is used in individual and microscopic way, on the other hand, singing shows collective and is a macroscopic quality. The dance is the representing media to show Lauwer's simultaneous microscopic mise-en-scene. While main plot takes place around the center-stage, actors perform a dance around the off-centered stage. Instead of exiting from the stage during the performance, the actors would continue dance -sometimes more like movements- around the off-centered stage. This not only describes the narrative, but also shows how each character is engaged to the main plot or incident, and how they look into it as a character. Its simultaneous microscopic mise-en-scene intends to function such as: showing a variety moments of lives, amplifying some moments or incidents, revealing character's emotion, creating illusionary theatrical atmosphere and so on. Meanwhile, singing simple lyrics and tunes are an example of the media to stimulate the audiences' catharsis. As the simple melody lingers in the audiences' mind, it ends up delivering a theatrical message or theme after the performance. This message would be transferred from the singing in chorus functions as a sort of leitmotive in order to make an impression to the audience. This not only richens their emotion but also creates an illusionary effect. Third, from the acting perspective, I'd like to point out the "detachment" aesthetic which Lehmann has pointed out. The actors never go deep into the drama by consistently doing recognize a theatrical illusion. The audience happens to pay attention to their presence through the actor's deliberate gesture, business, movement, rhythm, language, dance etc. The actors are against forming closed action by speaking in various languages or by revealing deliberately stage directions or acts, and by creating expressive mise-en-scene with multiple media. As a consequent, the stage can be transformed to not a metaphoric but a metonymic place. These actions are the ultimate intention for a direct effect to the audience. So to speak, Lauwers uses the anti-illusionary theatrical method: the scenes of fantastic death, interruption of singing and dance, speaking many kinds of languages, acting in detachment-status and so on. These strategies function to make cracks in spectators' desire who has a desire to construct a linear narrative. I'd like to say that it is the numerous potentiality to let the reality penetrate though and collide the reality with a fiction. By doing so, it induces for spectators to see the reality in the fiction. As Lehmann says, "when theatre presents itself as a sketch and not as a finished painting, the spectators are given the chance to feel their own presence, to reflect on it, and to contribute to the unfinished character themselves". In this sense the spectators can perform an objective criticism on our society and world in Lauwer's theatre because there are a number of gaps and cracks in his theatrical illusion where reality can penetrate. This is also the point that we can find out the artists' responsibility in this era of our being.

• 한국환경보건학회지
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• 제48권1호
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• pp.1-8
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• 2022

Objectives: The purpose of this study is to reveal the circumstances under which the cases of harm to health caused by humidifier disinfectant were neglected and show the points where the number of victims and the degree of damage could have been reduced. In addition, it attempts to describe how damage management proceeded immediately after the incident and actually exacerbated the damage. Finally, it explores the unfortunate aspects of the recent trial. By doing so, it attempts to take this as an opportunity to consider whether a tragic event such as the humidifier disinfectant incident could occur in the future. Methods: This study collected and analyzed data on chemical material characteristics related to humidifier disinfectants, data on health effect characteristics, data on related laws and regulations from the Ministry of Environment, data related to the damage investigation by the Korea Environmental Industry and Technology Institute, and current contents. Results: The lack of related systems and laws is the area where the greatest responsibility for the cause of the humidifier disinfectant disaster falls, so it is difficult for the government to escape this responsibility. Establishing a dedicated department to identify the prevalence of certain diseases within the functions of the Health Insurance Review and Assessment Service to monitor health can greatly contribute to the prevention and management of diseases through early detection and management of group outbreaks caused by harmful factors. Humidifier disinfectant damage relief should have been expanded earlier beyond HDLI (humidifier disinfectant lung injury) to include non-specific diseases such as asthma, pneumonia, and interstitial pneumonia. The scope of relief benefits should have also been expanded earlier to include the payment of disability benefits. Fortunately, with the 2020 revision of the Special Act, the conditions for estimating causal relations were eased and individual screening systems such as health impact assessment were reorganized along with the introduction of a rapid screening system. Conclusions: The management system for chemical substances in a country is clearly of paramount importance, and the ministry in charge must have a response system in case of damage to health effects. Administration that looks at the victims' situation from their point of view is needed, and technical countermeasures are required to quickly recognize the prevalence of certain diseases.

• 한국언론정보학보
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• 제58권
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• pp.130-153
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• 2012

지난 30년간 한국의 정치 변동 과정에서 5.18 담론은 가장 논쟁적인 이슈 중 하나였다. 이 연구의 목적은 한국의 대표적 신문 중의 하나인 "동아일보"를 대상으로 그 지면에 나타난 5.18 담론의 주요 특징과 변화 양상을 살피고, 한국의 정치 사회적 맥락과는 어떠한 연관을 맺고 있는지를 밝히는 것이다. 구체적으로 이 연구에서는 "동아일보" 지면에 나타난 5.18 관련 용어에 대한 분석과 사설 보도에 대한 질적 담론 분석을 통해서 1980년부터 2008년까지 "동아일보"가 구성하고 있는 5.18 담론을 분석하였다. 분석 결과 "동아일보"에서 5.18을 지칭하는 용어는 초기 지배적 용어로 광주사태가 사용되다가 1983년 유화국면 이후 광주민중항쟁, 광주학살, 광주항쟁, 광주의거와 같은 대항담론의 용어들이 차례로 등장하고, 1989년 이후 광주민주화운동이 지배적 용어로 자리를 잡게 되는 것으로 나타났다. 그리고, "동아일보" 사설의 5.18 담론은 비극적 사태 담론, 진상규명 담론, 명예 회복 담론, 역사 심판 담론, 적극적 처벌 담론, 정치담론화의 순으로 전개가 된 것으로 나타났다. 이러한 "동아일보"의 5.18 담론 변화는 한국사회의 사회 정치적 변동과 밀접한 관련을 맺고 있는 것으로 분석되었으며, "동아일보" 스스로 5.18 담론의 변화를 주도하기보다는 지배담론의 변화가 발생한 후 이를 반영하며 새로운 지배담론을 공식화하는 역할을 하고 있는 것으로 분석되었다.

• 한국엔터테인먼트산업학회논문지
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• 제14권8호
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• pp.117-130
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• 2020

『황금용』(The Golden Dragon)은 아시아계 노동자들의 낯선 도시 베를린에서의 생존에 관한 이야기를 통해 세계화의 비극적 허상에 대해 다시 생각해보게 하는 작품이다. 이 작품의 포스트 서사극적 특성은 관객에게 이전과 다른 새로운 방식으로 관극할 것을 요구한다. 하지만 국내에서는 포스트 서사극적 특성과 포스트 서사극의 개념에 관한 이론적 연구는 진행되었으나 구체적인 연기적 접근 방법 연구는 거의 전무하다. 따라서 본 연구자는 연기적 접근 방법을 제시하기 위하여 먼저 『황금용』의 포스트 서사극적 특성을 분석하였다. 그 결과 포스트 서사극에서는 사실주의 연극과는 다른 일인다역을 실행하기 위한 신체중심의 연기 접근법이 요구됨을 확인하였다. 따라서 루돌프 본 라반(Rudolf von Laban)의 라반 움직임 분석(Laban Movement Analysis)을 적용하여, 몸의 활용을 통해 자연스럽게 내적 충동이 유발될 수 있도록 실행하였다. 특히 라반의 움직임의 네 가지 카테고리(BESS) 중 에포트를 통해 포스트 서사극을 연기하기 위한 신체 중심의 연기적 접근 방법을 고찰하고자 한다. 최종적으로 실제 프로덕션 과정을 통해 라반의 움직임 이론이 포스트 서사극의 역할 창조를 위한 신체 중심의 연기적 접근 방법으로 활용될 수 있음을 확인하였다.

• 호스피스학술지
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• 제2권1호
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• pp.58-74
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• 2002

This paper constitutes a descriptive investigation and used a structured questionnaire to investigate nurses' and doctors' recognition of cancer patients. The subjects were extracted from the medical personnel working at the internal medicine, the surgery ward, the obstetrics and gynecology department, the pediatrics department, the cancer ward, and the emergency room of five general hospitals located in Seoul and Gyeonggi Province. The research lasted from August, 2001 to September 2001. Total 137 nurses and 65 doctors were included and made out the questionnaires directly distributed by the investigator. The study tool was also developed by the investigator and consisted of such items as the demographic and social characteristics, the medical personnel's recognition degree of cancer and cancer patients, their recognition of the management of cancer patients, and their participation in a hospice. The results were analyzed using the SPSS Window program in terms of technological statistics, ranks, t-test, and ANOVA. The reliability was represented in Cronbach' α=.75. The nurses' and doctors' recognition degree of cancer and cancer patients had an overall average of 3.86 at the 5 point-scale. The items that received an average of 4.0 or more included 'Medical personnel should explain about the cancer cure plans to the cancer patient and his or her family', 'A patient whose case has been diagnosed as a terminal cancer should be notified of it, 'If I were a cancer patient, I would want to get informed of it,' and 'Cancer shall be conquered whenever it is'. In the meantime, the items that received an average of 3.0 or less was 'My relationship with the cancer patient's family has gotten worse since I announced his or her impending death.' And according to the general characteristics and the difference test, the recognition degree of cancer and cancer patient was high among the subgroups of nurses, females, married persons, who were in their 30s, who had a family member that was a cancer patient, and who received a hospice education. The biggest number of the nurses and doctors saw 'a gradual approach over several days'(68.8%) as a method to tell a cancer patient about his or her cancer diagnosis or impending death. Those who usually tell tragic news were the physician in charge(62.8%), the family members or relatives(32.1%) and the clergymen(3.8%) in the order. The greatest number of them recommended a cancer patient's home as the place where he or she should face death because they thought 'it would stabilize his or her mentality'(91.9%) while a number of them recommended the hospital because they 'should give the psychological satisfaction to the patient'(40%) or 'should try their best until the last moment of the patient's death'(30%). A majority of the medical personnel regarded 'smoking or drinking' and 'diet' as the causes of cancer. The biggest symptom of a cancer patient was 'pain' and the pain management of a cancer patient was mostly impeded by the 'excessive fear of drug addiction, tolerance to drugs and side effects of drugs' by medical personnel, the patient, and his or her family. The most frequently adopted treatment plan of a terminal cancer patient was 'to do whatever the patient or his or her family wants' to resort to a hospice' and 'to continue active treatment efforts' in the order. The biggest reasons why a terminal cancer patient went to see a doctor were 'pain alleviation' 'control of symptoms other than pain(intravenous supply)' and 'incapability of the patient's family' in the order. Terminal cancer patients placed their major concern in 'spiritual(religious) matter' 'emotional matters' their family' 'existence' and 'physical matters' in the order. 113(58.5%) of the whole medical personnel answered they 'would recommend' an alternative treatment to a terminal cancer patient mostly because they assumed it would 'stabilize the patient's mentality.' Meanwhile, 80(41.5%) of them chose 'not to recommend it mostly due to the unverified effects and high cost of it(78.7%). A majority of them, I. e. 190(94.1%) subjects said they 'would recommend' a hospice to a terminal cancer patient mostly because they thought it would help the patient to 'mentally prepare'(66.6%) Only 17.3% of them, however, had received a hospice education, most of which was done through the hospital duty education(41.4%) and volunteer training(34.5%). The follows are results of this study: 1. The nurses and the doctors turned out to be still passive and experience confusion in dealing with a cancer patient despite their great sense of responsibility for him or her. 2.Nurses and Doctors realize the need of a hospice, but an extremely small number of them participate in a hospice education or performance. Thus, a whole recognition of a hospice should be changed, for which purpose a hospice education for nurses and doctors should be provided. 3.Terminal cancer patients preferred their home to a hospital as the place to face their impending death because they felt it would bring 'mental stability.' And most of nurses and doctors think it would be unnecessary for them to be hospitalized just for control of their symptoms. Accordingly a terminal cancer patient can be cared at home, and a home hospice care needs to be activated.

• 동양고전연구
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• 제43호
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• pp.7-31
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• 2011

단종은 조선왕조 역사상 가장 불운한 임금이다. 그는 숙부인 세조에 의해 왕위를 찬탈당하고, 유배지인 영월에서 최후를 맞이한다. 영월은 이렇게 비극적인 인물의 마지막을 여러 설화들을 통해 선명하게 기억하고 있다. 이 연구에서는 단종과 관련된 설화 중 현대에 형성되었을 것으로 추정되는 작품들을 대상으로 하였다. 설화의 형성 시기를 명확히 알 수는 없다. 그러나 경험담의 형태로 연행된 설화는 이야기의 주인공이 살았던 시대가 설화의 형성 시기라 할 수 있을 것이다. 여기에 시대를 알 수 있는 물건이나 요소가 이야기 속에 들어 있다면 그 시기를 밝혀낼 수 있을 것이다. <영모전 잔디 밑 시신>과 <경찰서장의 꿈>, <태백산 단종 비각과 장릉>은 모두 현대에 창작되었다. 하지만 이 설화들은 전혀 새로운 내용의 이야기가 아니다. 기존에 전승되어 오던 설화들이 바탕이 되고, 거기에 개인적 경험담이 결합되어 재창작에 가까운 파생이 일어나는 것이다. 이렇게 현대에 만들어진 단종 설화들은 몇 가지 특징을 가지고 있다. 첫째, 단종 설화를 현대까지 유지시키는 전승력이 비극성과 신성성에서 일반적 기이함으로 확장되었다. 단종의 슬픔과 그 원한으로 인한 신적 능력은 시간이 흐르면서 약해지게 되고, 그것은 누구나 겪을 수 있는 신기한 일로 대치된다. 둘째, 현대 단종 설화는 민담적 성격을 지닌다. 단종 설화는 인물 전설에서 신격화를 통한 신화로 발전하였다. 이 신화는 현대로 오면서 누구나 겪을 수 있을 만한 민담의 형태로 변형된 것이다. 셋째, 단순한 변이가 아니라 경험담의 형태로 재창작되었다. 개인적 경험담이 기존의 설화들과 결합되면서 새로운 설화 작품으로 재창작되었다는 것이다. 현대 단종 설화를 통해 역사 속 인물에 대한 설화가 현대에도 창작될 수 있다는 점을 볼 수 있었다. 또한 개인적인 경험담이 설화로 정착되는 과정을 살펴볼 수 있었다. 경험담과 같이 현대에 창작되고 있는 수많은 설화들에도 관심을 가져야할 때이다.