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Jounal of Korean Theatre Education

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수록정보
수록범위 : 1권0호(1997)~34권0호(2019) |수록논문 수 : 324
연극교육연구
34권0호(2019년 06월) 수록논문
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KCI등재

1극단 실험극장의 소극장운동에 관한 연구 : -운니동 시절을 중심으로-

저자 : 구태환 ( Koo Taehwan )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 34권 0호 발행 연도 : 2019 페이지 : pp. 5-21 (17 pages)

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This paper studied how experimental theaters influenced the movement of small theater in Korean theater based on historical evidence until the creation and extinction of experimental theater. The experimental theater, Korea's first peer system theater group, was launched in 1960 and revolted against the mainstream of the play of the time and armed with a youthful and experimental spirit, bringing fresh air to the Korean theater community. It also showed the potential for the success of small theater plays in 1975 when the theater ran its own theater. The success of the small theater play not only led to the popularization of the play but also helped foster experimentation and new talents for the play. The theatrical spirit of the experimental theater resisted the force of the mainstream and always sought novelty. Amid the difficult political reality in Korea, the experimental theater showed the spirit of the play's era and spirit of resistance. The small theater movement at the experimental theater became a symbol of new change and innovation in theater management and showed the potential of Korean theater. But the experimental theater was also unable to adapt to the rapidly changing times and closed in 1996 amid the logic of capital.

KCI등재

2공연과 흄-들뢰즈의 경험론 : - 공연에 대한 생성 존재론적 해명2

저자 : 김미현 ( Kim Mi Hyun ) , 최찬열 ( Choi Chan Yeoul )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 34권 0호 발행 연도 : 2019 페이지 : pp. 23-53 (31 pages)

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Hume - Deleuze's empiricism only considers relation and passion as base elements of mental activity and never premises reason primarily, it makes an entirely positive image of human outside of the reason. This correspond to Lehman and Fischer-Lichte's intention which tells that performance need to be justified physically and emotionally, not theoretically and intellectually.
Discussing the performance as an event from Fischer-Lichte and the performance as a post drama play from Lehman through Hume-Deleuze's empiricism, we want to suggest not to see the performance as a human rationality's sensual manifestation of legalistic activity, purpose, intention, ideology and furthermore want to discuss that performance has subject-constructive powers and the power to becoming- change all the relations where the subject is included.
Meanwhile the relation in performance contrast to the relation which Descarte's moral made. On another side the relation in performance contrast to the relation made by human's ordinary custom. The relation which crosses through the relation imposed by the ordinary custom and the moral relation forced to humans, which makes new relation by breaking the regulated relation and form and therefore has the power to newly compose the body and life is performance. This changes our physical-relation and has the power to change the life-relation where this physical-relation is included. So, creating new relations through performance is a movement of subjectivization and a practice of new life at the same time. Here, subjectivization is the opposite meaning to subjugation. Escape is always implied in relation already. This means that relation can not be completely locked up and it includes endless new relations inside. This new relation is always ready to be formed and free from fixation. Therefore performance is escaping from the fixation of identity and an aspect of subjugation.
Making a new subject is the same as creating a new relation. If joining a performance is a process of subjectivization, we can say that this is 'becoming an aesthetic subject' by an individual. This means making oneself and one's life artistic by resisting the existing social codes. Here the word 'aesthetic' means revealing that the given order and relation is fake and creating oneself an own order and relation. So the performance these days can be said as a practice of art regulating the arrangement of power relations. Performance is outside the nation and capital. Performance is creating new orders and relations by constantly refusing the aesthetic order which the nation and capital spread, so therefore performance is the opponent of nation and capital.

KCI등재

3연극 《나와 세일러문의 지하철 여행》1)의 공동창작2) 특성 연구

저자 : 김세홍 ( Sehong Kim ) , 조준희 ( Joon-hui Cho )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 34권 0호 발행 연도 : 2019 페이지 : pp. 55-86 (32 pages)

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The way of performing production varies according to the cultural background to be produced and the changes of the times. Among them, the method of collaborative creation has been newly introduced and attracted attention in Western theater in the 1960s, and is now being discussed as an alternative theater.
The characteristics of collaborative production produced by the researchers through the previous researches related to Ariane Mnouchkine, which is famous as a collaborative creation artist in France, are summarized as follows. They emphasize 'diversity' in the process of creation, second, to work in 'a process-oriented attitude', and third, to reveal 'the presence of participating artists'. As noted, the collaborative creation work was not originated in the domestic theater industry, but should be regarded as a domestic acceptance that senses the change of Western theater production mode as a result of exploring new ways of creating Western theater since the 1960s.
Therefore, it is believed that the typical characteristics of these collaborative creations, which can be identified through Mnouchkine, can fully discuss how they are being implemented in the production of the local work 《I and Sailor Moon's Subway Travel》 even though no traces or associations of direct interaction can be found. And the reasons why this work is more suitable for collaborative creation than for other collaborative creation productions are as follows. First, because it was created by a group of performers from three countries (Korea, Japan and Hong Kong), it was highlighted by 'diversity' and secondly, it was actively composed and performed by 'reflecting the workshop process', and thirdly, the characteristics of creating 'a co-existing environment for audiences and actors' are relatively clear. As a result, 《I and Sailor Moon's Subway Travel》 is thought to reflect the typical characteristics of collaborative creation in Western theater with great clarity. In particular, it was judged that they could represent the contemporary collaborative creation characteristics of the same time period among collaborative creation production in Korea, given that they were more advanced than before. We hope this study could contribute to diagnosing and predicting the current state of the collaborative creation system in Korea.

KCI등재

4교육연극을 활용한 역사와 전통예술의 통합교육 프로그램 - 초등학교 저학년 역사교육의 가능성 탐구

저자 : 김효 ( Kim Hyo )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 34권 0호 발행 연도 : 2019 페이지 : pp. 87-125 (39 pages)

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Since 1954, there have been 10 reformations of Korean educational curriculum, including one that was confirmed in December 2015 for implementation of a new textbook composition in 2017. Up to now, the Korean educational system has not provided low grade elementary students with history education because the understanding of history requires a degree of competence with abstract concepts. However, 'Domain-specific cognition theory' states that an effective teaching method can promote children's understanding of any concept when it employs skills in accordance with the structure of the specific subject taught. Considering that educational programs integrating arts can enhance learning effects of children, this research supposed that an experimental model integrating Korean history and traditional arts could be a tool of teaching history for low grade elementary students. In order to reinforce the experiential teaching method, this research supposed that this integrating program needed 'process drama', which created an integration of history, drama and dance. An educational programme which was organized in 2015 by the Korean National Company of Dance “Play with Korean Traditional Dance : Exploring expedition for history” proved that a programme of 'Drama in Education' Integrating Korean history and Traditional arts excelled in educational function in terms of history and dance. This programme increased both the understanding and interest of the participants by the concreteness of the dramas. They also helped participants to naturally overcome passiveness through the physical movements of dances that actively engage them in history learning by stimulating their emotional flexibility at the same time. As dances unfolded within the historical contexts, children could learn how the dances have been created and developed in real life through dramatic activities, and gain increased understanding and interest in Korean dances. This research shows that a program that integrates history, traditional dance and theatre is an effective teaching method that enables low grade elementary students to learn history.

KCI등재

5그로토프스키(Jerzy Grotowski) 연기론의 비판적 고찰

저자 : 서나영 ( Suh Nayoung )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 34권 0호 발행 연도 : 2019 페이지 : pp. 127-149 (23 pages)

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This paper is a critical study of Grotowski's acting theory. In the early 20th century, the belief that human psychology could also be scientifically organized led to a performance training system based on the objectivist acting theory. On the other hand, a series of body-centered movements against rationalism also begin to be made into the language of training.
In other words, focusing more on emotions, intuition, instinct, and improvisation rather than human reason, body-centered actor training would be an ideal acting to reveal the true character of an actor without playing a role. This paper aims to concentrate on the actor training of these flows.
At first, focusing on the Grotowski's acting theory, especially 'via negative', I will discover the contextual meaning in the content of the exercises and reconsider it from a critical perspective.
Forming a specific body technology cannot be separated from discourse and historical contexts that tell how such technology was understood and reproduced. Therefore, the body-centered acting theories should be approached and reinterpreted by contemporary language of acting, which starts from the perspective of reflection and criticism, away from the concept of 'real' and fixed 'self.'

KCI등재

6팽창주의 성향의 피터 홀의 RSC 운영 방식 : - 상설 컴퍼니의 설립과 운영을 중심으로

저자 : 허순자 ( Hur Soon-ja )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 34권 0호 발행 연도 : 2019 페이지 : pp. 151-194 (44 pages)

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As the founding Artistic Director of the RSC(1960~1968), the first and a large-scale public institution in the modern UK theatre, Peter Hall(1930~2017) recorded a new chapter in the history of modern theatre through his panoramic artistic and administrative policies. Replacing the age-old tradition of the 'Actor-Manager System' in the British theatre company management, his emergence signalled the arrival of professional artistic directorship as the 'director- administrator'. Hall founded the RSC with a year-round season from a limited season under the festival structure of its preceding institution, Stratford Shakespeare Memorial Theatre. The foundation of the RSC conditioned the establishment of a permanent company whose predominant members were actors. That was also the realization, for the first time in Britain, of the semi-permanent company with a three-year contract which allowed a creative environment suggesting a basic financial security. With a purpose to establish its inherent acting style to be nurtured by continuous training and work, this concept of company, had originally been derived from the inspiration of those renowned ensemble theatre companies in the European continent. However, unlike them in which the leader's individual aesthetics had become the principles, Hall's overall artistic guideline with a particular emphasis on the verse-speaking, aimed at a high quality production. Resisting the past insistence on Shakespearean productions only policy in Stratford since its birth in 1879, Hall opened a London base at the Aldwich Theatre, so as to allow for a dual geographical existence. It was conceived to connect the seasons of the local and the capital cities through company productions. Contrary to the former's so-called 'Bardolatory' tendency, the Aldwich's repertory in which new and modern plays, as amalgamated with other classical works, heralded the RSC's artistic identity. While intending to achieve a Shakespearean relevance, Hall sought to co-existence and mutually complementary values between the new and modern works with the former, Shakespearean plays.
Hall's vision as such was, indeed, a revolutionary one which called for a paradigm shift in running public theatre institution. His consistent effort made to realize that vision led, finally, to construct the company acting style and the resulting high quality productions. Nevertheless, as the ironic epithet the 'RSC empire' building recalls, Hall's over expansionism and frequently an impulsive ambition had to collide with a characteristic financial deficiency in non-profit organizations. Despite his many aggressive strategies to win the necessary amount of government subsidy, the RSC faced with critical financial troubles as its competitive NT took the precedence over it.
Hall's management style of the RSC which is characterized as the expansionist inclination, resulted in a success only in a limited sense. He was able to realize his ideal to create the company acting style by means of founding and operating a semi-permanent company within the RSC structure, and through which he contributed to the development of the modern British theatre. Nevertheless, Hall's overall leadership that was characteristically expansionist tendency lacked in a consistent policy, principle, philosophy, and methodology.

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1연안해역에서 석유오염물질의 세균학적 분해에 관한 연구

(2006)홍길동 외 1명심리학41회 피인용

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(2006)홍길동41회 피인용

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