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수록정보
수록범위 : 1권0호(2015)~8권0호(2022) |수록논문 수 : 39
공연예술연구
8권0호(2022년 04월) 수록논문
최근 권호 논문
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1메이어홀드의 '인체역학' 훈련에 대한 VR의 활용 방안 연구

저자 : 노홍석 ( Noh Hong Seok )

발행기관 : 한양대학교 공연예술연구소 간행물 : 공연예술연구 8권 0호 발행 연도 : 2022 페이지 : pp. 5-29 (25 pages)

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Since the fourth industrial revolution, people began to merge engineering with art and made various attempts. Such efforts have been going on before, and people nowadays are more exposed to art. For example, people can livestream music performances on their smart phones instead of going to concerts. They can also make webtoons and illustrations on tablets without other complicated tools. In addition, they can draw up plans using computer programs and thus produce sculptures through 3D printing. From these, what are mentioned above made by the engineering products can also be called as art.
Art can also be interpreted in an objective way, for example, we can analyze music, painting, and sculpture from the perspective of mathematics. Back in 1939, musical scale A4 was designated as 440Hz and the international standard scale in London Internationalization Organization Meeting. It then became the standard scale for making and adjusting instruments as well. As for painting art, people began designing and painting with the help of Descartes' coordinate system.
However, mathematics may fail to exert its magic when it comes to actors' performance. The reason is that there is no objective standard to judge how good a performance is, and so there is no accurate date to analyze the performance. From this perspective, it seems that it is hard to integrate performance with cutting-edge technologies. But Mayerhold's biomechanics makes a difference. According to his point of views, we can believe that humans' mechanical movements can become the basis of mathematical analysis. In other words, we can analyze the actors' movements by mathematics measures and even collect the data for the future study and improvement. In the process of making the VR contents, the objective standard of humans' mechanical movement can be set up and the actors' movement should be compared with this standard for the analysis.
Basing on the contents above, the author will compare Otkaz, Posil and Tochka's “acting cycle”, the basis of human behaviors in biomechanics, with the mechanism of VR. By doing so, the author aims at finding out the organic relationship between them. More importantly, the author tries to make the VR contents which have the actors caught on to the 'acting cycle' and make them realize and analyze their problems through statistics.

2제3의 공간으로 바라본 일상생활의 연극성

저자 : 신동동 ( Shen Tongtong )

발행기관 : 한양대학교 공연예술연구소 간행물 : 공연예술연구 8권 0호 발행 연도 : 2022 페이지 : pp. 31-48 (18 pages)

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This paper aims to study the new spatial concept of 'third space' that emerged due to changes in modern society and the space of the play to which it was applied. Until the 20th century, the space of theater was mainly within a traditional framework consisting of theaters or auditoriums and stages. After the beginning of the 20th century, however, modern theater began to break away from the existing form and take place in spaces other than theaters.
In particular, with the emergence of urbanization and diversity, plays also embraced the complexity of modern and traditional or a combination of independent art and popular art, and amid these changes, modern plays tried to overcome the shortcomings of traditional plays and examine social issues. As a result, a space was required to fully practice the characteristics of the changed play, and the 'third space' was created based on experimental attempts made outside the theater.
To understand these changes, we need to look at the theories of philosophers and sociologists about space. Typically, Gaston Bachelard (1884-1962) presented a new spatial concept including various senses and images, while Paul Michel Foucault (1926-1984) proposed heterotopia, a new spatial concept dealing with space order and overlapping with everyday life. In particular, this researcher aims to pay attention to the theories of Henri Lefebre (1901-1991) and Ray Oldenburg (1932-), who specifically suggested the characteristics of equality, acceptance, and universality of 'the third space' by re-examining the relationship between space and sensation in the play, focusing on changes in human thinking. Therefore, this study intends to conduct a specific study based on the theory of these two characters who explored the space of the play as the concept of 'the third space' among various theories dealing with 'the third space'.
In 'the third space', people no longer use certain ideologies or the attributes of class society as a rule to gauge relationships. In addition, post-drama focuses on the universal situation of mankind through the concept of existence and pursues the convergence of various concepts and genres. The 'third space' that emerged in this environment has the main characteristic of recognizing space from a social and philosophical perspective.
Most of the studies that have been conducted have dealt with the drama space separately from the 'third space', but there are not many cases of studying the drama space from the perspective of 'third space'. Therefore, this researcher will theoretically analyze 'third space' through research data mentioned in philosophy and sociology, analyze the cases of various modern plays to examine the relationship between space and humans and the meaning of 'present'. In other words, as the relationship between space and humans changes, it is expected that this study will be actively used in future theater space research by confirming that the play has become more advanced in the nature and meaning of life and dealing with the value of 'the third space' that can give theatricality to everyday life.

3이머시브 연극에서 체험적 공간의 패턴에 관한 연구

저자 : 양캉 ( Yang Kang )

발행기관 : 한양대학교 공연예술연구소 간행물 : 공연예술연구 8권 0호 발행 연도 : 2022 페이지 : pp. 50-75 (26 pages)

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In recent years, theatrical stage around the world has developed rapidly, giving birth to a series of new experiments, new ideas, and new forms of theater, and immersive theater is one of them. It is constantly developing, growing, and gradually coming into public view on the world's theatrical stage. An immersive play is a play that provides an immersive experience that is distinct from existing plays, which integrates all artistic elements and innovates in various aspects such as the spatiality of the theater, the experientiality of the play, the specificity of the place, and the relationship with the audience. means In addition, the emphasis on interactivity provides a new space where the boundary between the actors and the audience is removed, and accordingly, the audience can choose to move directly or follow the actors to create a new story. In addition, immersive theater is differentiated from existing theater as a comprehensive art that innovatively combines various art forms. And with the development of technology, the form of the theater has changed a lot, and as people's lives are not limited by space and place, the performance style has also changed gradually. Next, immersive theater can use spaces such as warehouses, apartments, and hospitals as theater venues by going beyond the limits of the stage and audience. Immersive theater emphasizes the physical environment and characteristics of a place. This is because, in making a play, we are basically inspired by the place, and on the contrary, we select a place according to the theme of the work, and by designing the place, we can create a new world where the boundaries between play and reality are blurred. In this space, actors and audiences can interact and participate together. The reason why the stage of the immersive theater is not patterned is to find more possibilities of the play by breaking away from the existing patterned places and spaces. This thesis mainly analyzes the experiential space of immersive plays, and accordingly, performances such as < Sleep No More >, < Alice in Wonderland >, and < Puerza Burta > are analyzed as examples. It becomes a new performance system through technology in various fields and provides a paradigm of viewing that breaks down the fourth wall in existing plays through interaction and utilization of spaces and places for the purpose of active participation and exchange of audiences. can satisfy Since the development of immersive theater is deeply related to technologies such as architectural design, spatial design, and multimedia, the relationship between space and place in immersive theater is also studied. Through this, we hope to study the mode and aesthetic value of the experience space of immersive drama.

4양리핑(杨丽萍) 판 <봄의 제전>(春之祭) 작품 창작 연구

저자 : 한계봉 ( Han Ki Pung )

발행기관 : 한양대학교 공연예술연구소 간행물 : 공연예술연구 8권 0호 발행 연도 : 2022 페이지 : pp. 76-95 (20 pages)

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Yang Liping's version of Spring Festival, which combines Eastern and Western cultural ideas, boldly changed the way she interpreted modern dance and ballet, and changed her perspective from "human" to "god" to "natural" to get inspiration from "natural". It is difficult to generalize her in a one-sided way, and the actors in her work often make almost insane moves that make it impossible to find a regular pattern, but she can order and harmonize them. Therefore, the combination of madness and orderliness of Spring Sacrifice in her eyes was achieved, and Spring Sacrifice revealed a wider field of vision, a freer, more open and more relaxed artistic realm. Yang Liping's version of "The Rite of Spring" is like a key to unlocking the inner world. People not only focus on positive and optimistic emotions, but also treat the heavy and powerless negative emotions fairly. The artist's work, which has individual will, has won the audience's sympathy. "The reason for this, I think, is the charm of this. Academic research into this modernist work, which combines Eastern colors, has become necessary."
The purpose of this paper is to investigate Yang Liping's creative techniques by studying the adaptation of Spring Festival by Yang Liping. Through body language, composition, emotional expression and ideological meaning, this paper discusses Yang Liping's creative concept, understands the core idea of Yang Liping's edition of The Sacrifice of Spring, and discusses how to combine this neo-Romanistic musical work with Chinese culture. At the same time, Yang Liping's creative concept is discussed. It provides a reference for academic research on the adaptation and innovation of this masterpiece in Eastern countries.
This paper examines the origin and original structure of the works of Spring Festival through literature, compares the ideas of Yang Liping's creation, and discusses the inspiration and presentation of Yang Liping Opera Troupe's performances. This paper introduces the objective evaluation and interpretation of Yang Liping's version of The Sacrifice of Spring, which combines the relevant knowledge of Buddhism with the in-depth study. The research method is divided into four parts: firstly, the purpose of the research is described, the research direction is presented and the research value is presented. The second is to understand the meaning and the concrete connotation of the work against the background of Spring Festival. The author also introduces Yang Liping's creative background to comb up Yang Liping's historical and creative background, and discusses Yang Liping's creative motivation and factors influencing her creation. Third, the comprehensive study of Yang Liping's version of "The Rite of Spring" is conducted from the perspective of Buddhist culture and traditional Chinese culture. Fourth, the aesthetic characteristics and cultural connotations of Yang Liping's version of The Sacrifice of Spring are summarized, and the role and value of this work in Chinese art circles are discussed.

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