This thesis is based on knowledge acquired by means of artists` practical experience from the perspective of ethnoscenology, the performance studies. This thesis can be said as explanation of empirical knowledge of practical experience that the writer has obtained in the course of describing ``Theater-Dance``. More precisely, this is a thesis about the creation course of being performed under the direction of the writer in the Towal Theater, Seoul Arts Center from Nov. 8, 2010 that was the original work of F. M. Dostoevskii and play-scripted by Albert Camus. After all, this creation course is an empirical knowledge system explaining how a text is created in the form of a theater-dance. Accordingly, this thesis is about an empirical knowledge system as courses and systems of the creation method including ways of thinking and thought system for direction. And the terms and creation methods used for this work are not the writer`s unique ones but those that have already been established by various creators and theorists, which were accepted, changed and developed for the writer`s creation course. First of all, the first step is in the selection of a text. This selection is a definite answer to the question whether it appears as a conversation between an author and me and has universality of being extended to present phenomena. Therefore, interpretation of a text is work of seeing me in such mirror and the exact understanding of the concrete shape shown in the mirror forms the main theme that the work intends to tell. Through such course, the creation course is progressed as follows. The first is to establish main space as visual materialization of the thematic concepts. Main space as realization of the thematic concepts is operated by the space structure being realized according to the story structure. Chains of this space are visualized by grouping incidents and then converting them into the concepts of space. The next is to derive the story structure by rhythmizing the units of space composing the chains of space. Rhythmization means giving pleasure of sensibilizing the structure of meaning. This rhythmized space structure ultimately serves for the chains of sensory image with materialized meaning. First of all, rhythmization of space is formed by means of the tempo of physical changes of space. In addition, through movements of theater-dance, these chains of image are transformed and extended in various ways. As the creation methods of theater-dance movement, there are methods of creating action chains according to concepts and methods of conceptualizing and indicating factual, that is, reproductive chains of action. All of them are rhythmized through the paradigm of extension of behavioral group/transformation development → leaping. → This thesis emphasizes on the creation course by which how the creation methods of the direction with the style of theater-dance change scenes into chains of sensibilized images. Accordingly, this doesn`t mean the total courses of creating the . This means that the writer can`t deal with the total creation course in one thesis. And more basically, it is also because of the paradoxical dilemma being delivered by the difficulty of deriving such activist`s inner argument, that is, ``the implicit knowledge`` that has been obtained through long time practice of the body, to a research object, in other words, expressing it as a knowledge system of language. However, we can`t deny the fact that introducing these empirical knowledge system into the academic research space itself has very important meaning. In other words, it means that it has certainly introduced the methods of the creative activities as a member of present theatrical world. Therefore, at least, this study can be understood as a phenomenon of the creation course of a present theater director of Korea.