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Jounal of Korean Theatre Education

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수록정보
수록범위 : 1권0호(1997)~39권0호(2021) |수록논문 수 : 360
연극교육연구
39권0호(2021년 12월) 수록논문
최근 권호 논문
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KCI등재

1디지털 브레히트: 디지털 게임 공학과 브레히트적 연극의 만남 : 루딕 씨어터 ≪초현실씨의 유방≫ 공연 사례를 통해서

저자 : 이강임 ( Lee Gang-im )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 39권 0호 발행 연도 : 2021 페이지 : pp. 5-70 (66 pages)

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In this paper, I deal with the intermedial performance called the ludic theatre, whose term I coined in order to designate a specific digital performance for on-line spectators(audience). The ludic theatre features the characteristics of digital games and the Brechtian theatre, forming a hybrid version of the game theatre. From the beginning of the history of the theatre, technological developments have changed the shape of the theatre. Especially, in the historical time of digital turn, we, theatre people, are situated between welcoming and denial of digitalization of the theatre. As a conceiver and a director of the Bechtian digital game theatre, I argue that we do not face barriers against the developments of the theatre, but having a great opportunity to enrich the theatrical storytelling by means of learning from new digital media. I draw my attention to the growth of the digital game industry and game studies. Meanwhile, our global pandermic environments also let us consider the possibility of the on-line theatre. Upon these artistic and social circumstances, I have searched for a new form of theatre called 'the ludic theatre.'
Also, in this paper, against more theoretical backgrounds, from the perspectives of performance studies, I illuminate how we, theatre people, can learn from the advanced immersive technology and make more appealing affects and effects in theatrical storytelling. Upon developing the intermedial genre, I investigated the ways in which the spectators could have more intimate and participatory experiences. For more engaged spectators, as a designer of the seed game model, < Cho Hyun Sil Game >, I learned from game studies and digital literacy. I wrestled with the game mechanics and the design fundamentals, having found the basic techniques and methods to weave a new kind of ludic storytelling. Through the sampling model of the ludic theatre, ≪The Bosoms of Choi Hyun Sil≫, which I conceived and directed for '2020 The Festival of Cultural Diversity,' I examine how this kind of hybrid intermedial genre, as a metasimulation, empowers on-line spectators(audience), opening up a social space for discussing our social/cultural issues and conundrums regarding social discrimination and oppression

KCI등재

2무대 위의 러시아 역사 - 국내 러시아 역사 소재 뮤지컬에 그려진 역사관 탐구

저자 : 김주연 ( Kim Juyeon )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 39권 0호 발행 연도 : 2021 페이지 : pp. 71-101 (31 pages)

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This study focused on the musical performances based on Russian history, specially which introduced in Korea in 2020 and 2021, the 30th anniversary of diplomatic relations between Korea and Russia. In these works, we looked at how the historical background of Russia is used and what meaning it creates in conjunction with the theme. Furthermore, we explored the historical perspective of creators looking at this era. Specific subjects of this study are musical ≪Midnight≫, adapted from Azerbaijan writer Afandiyev Elchin's plays, musical ≪Great Comet≫ based on Lev Tolstoy's epic novel ≪War and Peace≫, and musical ≪Fiddler on the roof≫ written by Russian Jewish writer Sholem Aleichem.
Musical ≪Midnight≫ depicts a social image of fear under Stalin's Great Purge. At the same time, it also sheds light on the internalized fear of ordinary people. In that sense, it is a work that gives a glimpse into the artist's gaze on the era of fear. The background of the musical ≪Great Comet≫ is the 1812 War, but this work focuses not on the war itself, but on the Dramatic Changes brought by the war. And this musical metaphorizes this change through Pierre, Natasha, and Comets in the performance. Musical ≪Fiddler on the Roof≫ is set in persecution of Jews in Russia in the early 20th century. Since the original writer himself was a victim of Pogrom, the view of Pogrom is clearly revealed in this work.
Each of these three works depict specific Russian history. But they don't consumes it as a simple background of the work, but also expands to a universal theme by using this history as an important element that conveys the theme and meaning of the work. This is interesting in that these works do not simply use history as a genre of period drama, but reveal the creative team's active interpretation and perspective on the Russian History in the musical.

KCI등재

3후안 마요르가 작 ≪하멜린≫의 포스트 서사극적 캐릭터 창조 방법 연구 : 뷰포인트를 적용한 실제 프로덕션 과정을 중심으로

저자 : 박소현 ( Park So Hyeon ) , 조준희 ( Cho Joon Hui )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 39권 0호 발행 연도 : 2021 페이지 : pp. 103-147 (45 pages)

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Juan Mayorga's Hamelin is a theatrical reconstruction of the Grim brothers' fairy tales < The Pied Piper of Hamelin > and the child sex crime incident in Raval, Barcelona. However, Hamelin is a work that reveals the hidden side of society and social salvation by focusing on children victims of adult morality, violence, and indifference surrounding child sex crimes rather than focusing on a specific case of child sex crimes. Through this, Hamelin, which raises problems with the structural contradictions of society and provides the audience with an opportunity to think, can be seen as a Post-epic theater that combines Post-drama elements by expanding and developing Bertolt Brecht's narrative and narrative techniques.
Post-epic theater aims to criticize society with plays, make the audience think with simultaneous action of empathy and unfamiliarity, and further make them chauge. However, as the researches on Juan Mayorga are focused on academic research focusing on plays and theories, researches on production-oriented acting approaches are insufficient. Therefore, this paper attempts to identify the Post-epic characteristics of Hamelin, define Hamelin as a Post-epic theater, and also examine the role creation methods through the actual production process.
To this end, first, a theoretical study on Post-epic theater was performed, and the three characteristics were derived. They are 1) an episodic-style composition that maximizes the participation of the audience, 2) a multi-layered narrative structure using commentators, and 3) a role-playing that strengthens the actor's presence. In addition, it can be seen that a physical and performative acting approach is required to perform narrative characters and build an ensemble of actors in the process of character construction. Therefore, Anne Bogart's Viewpoints acting training method was applied in the process of building characters and creating roles. Ultimately, the purpose of this paper is to seek methods for performative characters in Hamelin as Post-epic theater by examining the application process of actual production on the theoretical basis of Post-epic theater.

KCI등재

4이미지 연극의 공간 활용에 관한 연구 - 로버트 윌슨의 작품을 중심으로

저자 : 임일진 ( Im Il-jin )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 39권 0호 발행 연도 : 2021 페이지 : pp. 149-173 (25 pages)

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If the existing traditional theater was centered on texts and plays based on literature, image theater that pursues communication with the audience by forming images in the theater space through art and transforming them into creative symbols has already occupied a very important position in modern theater for a long time. However, despite the academic approach and importance, most still exist only as plays and images in plays and literature. Image theater, which has already been active in Western theater since the 1970s, is a very important field that must be dealt with in contemporary theater including current post-dramas, and in particular, by studying the relationship with the theater space and various cases, the possibility of new performances along with stage art is explored. I think you can find it. I think that it will contribute to a new exploration and development of stage art by examining the concept and characteristics of picture play, which can be called the beginning of image play and can be called by another name, and the relationship and influence with image play. A linguistic tech based on literature and plays in traditional theater
If it was a studio, an image-drama that pursues communication and performance with the audience by imagining an image in the play space and transforming it into a creative sign can be said to be extremely non-verbal. As such, it is thought that the examination and exploration of artistic realization and practice in the space of non-verbal image play can show various approaches and possibilities for the use of space in image play.
By examining the meaning and expression style of stage art through the works of Robert Wilson, who is considered the most important and representative artist in image theater, the current progress through the use of the theater space through images and various attempts of artistic performances. I would like to consider an image play. Robert Wilson is a representative writer who is most importantly mentioned in image play. His image play is a comprehensive art that encompasses almost all fields of art, including painting, sculpture, architecture, design, music, lighting, sound, acting, and directing, as well as silk play. It is not an exaggeration to say that the deconstruction and integration between genres shown through image play has opened up a new space and stage art. Robert Wilson's non-verbal theatrical space will be very useful for examining the expression style of contemporary stage art and the use of space through it, and at the same time studying the influence and correlation of the space use of image play on post-drama. .
Through Robert Wilson's image play, we study the symbolism and spatiality of artistic objects as a play object, and go beyond simple theatrical symbols to explore various theatrical uses and interactions with spaces of objects in image play. We will try to find out how it functions in theatrical communication of the department.

KCI등재

5연극 ≪대심문관과 파우스트≫의 창작과정에 나타난 연출의 미학적 특징과 그 방식

저자 : 나진환 ( Ra Jin-hwan )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 39권 0호 발행 연도 : 2021 페이지 : pp. 175-200 (26 pages)

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This thesis is a study on the aesthetic characteristics and method of directing shown in the creative process of the play ≪The Grand Inquisitor and Faust≫ based on empirical knowledge, which is one of the most important methodologies of performance science called Ethnoscenology.
First of all, this work is a re-creation of Ivan's epic < The Grand Inquisitor > and < Faust > from Dostoevsky's ≪The Brothers of Karamazov≫, which dealt with the problem of human salvation. Ivan's < The Grand Inquisitor > is a work that advocates the idea that human beings will become gods and save mankind, which is against the idea of divine Man that God's Son Jesus saves mankind. It is a work that explores the phenomenon of today's human anxiety by allowing Faust to live in an era called Belle Epoque in order to explore Faust's concerns along with the characteristics of the era.
What the researcher wanted to deal with in this work in particular was the state of the body as a total phenomenon and the way it was expressed. This shows the characteristics of directing aesthetics by revealing the meaning of performing used by this researcher and the characteristics of its expression method.
The aesthetic expression method of the directing to realize the thesis of this work is summarized as the formativeness of the body state revealed by the method of elimination shown by Grotowski's poor theater's aesthetics, and the ability of an actor to create a variety of concrete and strict spaces.
The method of change in which one actor expresses several characters is also a major means of 'sensory distantiation effect' advocated by this researcher. This sensory distantiation effect is also shown through the means of images, that is, Live Streaming, along with materiality. In addition, this researcher's directing aesthetics also emphasizes the thematic meaning of this work as a way of expressing Narcissism, which is revealed through the actor's acting in the space of materiality.

KCI등재

6포스트 코로나, OTT 그리고 온라인 연극 공연의 가능성

저자 : 우석훈 ( Woo Suk-hoon )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 39권 0호 발행 연도 : 2021 페이지 : pp. 201-221 (21 pages)

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The Corona Pandemic has made many changes in various field. Above all, the social distancing has made some restrictions to the performance in the theater. On line service and performance replaced the real performance and OTT services have made great progress with on line streaming cinema and drama. In the field of theatre and other performing arts, on line become one factor important.
OTT plays important role in cinema and thers is no turning-back before the pandemic And the documentary film relatively less commercial compared to the commercial cinema is also one important factor for the OTT. Post Corona will it make a change the relation between OTT and theatre?
In this article the condition of contract and various economic situations of OTT and on line performance especially compared to the documentary film. The Nation Theater of Korea has In Korea the National has already introduced on line performance and local OTT tried to introduce on line performance in small scale. In Post Corona period, we need to examine the difficulties and social benefits of on line performance especially the solution to the reional inequalities and accessibility for the educational objective. And the policy measures will be examined for the on line performance.

KCI등재

7복근 강화 운동이 최대발성지속시간에 미치는 영향에 관한 연구

저자 : 이계창 ( Lee Gye-chang )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 39권 0호 발행 연도 : 2021 페이지 : pp. 223-257 (35 pages)

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The objective of this study was to understand the effect of strengthening the abdominal muscles on phonation time through experiments. Voice is made by the action of various vocal organs, and it starts from vibrations that are created when the air in the lungs passes through the vocal cords while exhaling. This study hypothesized that strengthening the abdominal muscles, closely related to the contraction of the diaphragm, which compresses the lungs during exhalation, would increase the phonation time during exhalation. This study conducted an experiment using 32 healthy male and female college students in their 20s. The thirty-two college students were randomly assigned into four groups (eight students per group): an upper rectus abdominis muscle exercise group, a lower rectus abdominis muscle exercise group, an oblique muscle exercise group, and transverse abdominis muscle exercise group. Each group conducted an exercise program that focused on stimulating only one muscle part. This study measured the maximum phonation time of thirty-two subjects using the Pro Tools, a digital audio software developed by Avid Technology, four times: before exercise, immediately after exercise, 15 minutes after exercise, and 30 minutes after exercise.
The result of this study did not show a significant relationship between the abdominal muscle strengthening exercise and the maximum phonation time. The deviation of measured maximum phonation time varied a lot there was no consistent phenomenon that could explain this. This conversely proves that the ability to sustain vocalization is not related to the action of the abdominal muscles strongly compressing the diaphragm.
Until now, many artists and educators using voice have recognized and utilized abdominal muscle strengthening exercises such as sit-ups as the main training methods for making strong vocalization and increasing the phonation time. However, the results of this study implied that the ability to sustain vocalization was a function of another sensory and another muscle function, not abdominal muscle strengthening. therefore, it is requires to shift the existing breathing and vocal training methodologies. Ultimately, it is expected that the result of this study become the basis for establishing a systematic breathing and vocal training methodology for artists who deliver emotions and thoughts via voice.

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