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한국연극교육학회> 연극교육연구

연극교육연구 update

Jounal of Korean Theatre Education

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수록정보
수록범위 : 1권0호(1997)~36권0호(2020) |수록논문 수 : 339
연극교육연구
36권0호(2020년 06월) 수록논문
최근 권호 논문
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KCI등재

1한·일 여성음악극 단체의 공연운영시스템 비교 연구 - 여성국극과 다카라즈카를 중심으로 -

저자 : 강동훈 ( Kang Dong Hun )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 36권 0호 발행 연도 : 2020 페이지 : pp. 5-47 (43 pages)

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Art organizations, as producers of culture and arts, share the spirit of art creation and the expression according to it socially, enrich the public's enjoyment of art with various artistic activities that meet the natural needs and will of the human world, and further contribute to the promotion and development of art. This is why art organizations with artistic value need to survive through stable growth and revitalization. Art organizations are classified into private art organizations and national and public art organizations of the government, depending on the founder. Since private art organizations rely on their own capital, they should focus their capabilities on creating achievements in artistry and economics through efficient art management. The form of operation of art organizations is operated by non-profit private organizations, arbitrary organizations, non-profit corporations and private companies or corporations. This research is the field of art management on the operating system of private art organizations, and art management has problems with the instability of the art market due to social diversification and financial and operational difficulties due to the inferior nature of pure art. Therefore, the purpose of the research was to solve the problems of art management by private art organizations, and to provide them with improved operation methods that were effective in pursuing the desired purpose and fulfilling their mission as unit organizations. The Korean Women's National Theater and the Takarazuka Theater Company in Japan, which have a common genre of women's music theater as a private art organization, were compared and analyzed based on the form and growth of the group, the tendency of the work, the repertoire, and the performance patterns and the operating system on the decline and survival of the group. The analysis tool used seven art management system platforms established through the experience and research that I have learned in the field of art organization operation for many years. The contents are: First, the creation of the foundation for stabilization of finance, the third development of specialized education and training for unit training, the fourth development of professional operation personnel, the fifth development of performance works and contents, the sixth development of dedicated theaters and permanent performances, the seventh development of star development and marketing, and the network of members' social advancement. The two organizations were established with private capital in the modern era and were successful with a unique genre of concept, but they had conflicting results of decline and survival. These results exist in various causes and problems, but among them, the operation system was studied mainly, and the art management system presented as an improvement method is differentiated from the aesthetic field centered on performance aspects covered in prior research.
The Women's National Drama was established in 1948 and lasted for 10 years before it declined in 1960. In modern times, its existence is weak. Takarazuka, on the other hand, was founded in 1914 and is still alive as of 2020, and is the world's largest single organization with many fans. These conflicting differences were seen as the main factors behind the stable financial support and the establishment of a management system among many reasons. Women's National Drama is a modern and contemporary Korean traditional dance drama based on pansori, a traditional Korean traditional music. It was mainly composed of female pansori master singers with a new style of content, and began with the participation of female Korean classical musicians with the participation of artistic talents, and despite the difficult social conditions such as discrimination against women at that time, it is regarded as an adventure and creative horizon. The Women's National Drama was founded in 1948, and after 10 years of prosperity, declined in 1960. On the other hand, Takarazuka was founded in 1914 and continues to exist in 2020. It is the world's largest single group with many fans. Among these causes, the major differences were the stable financial support of companies and the establishment of a management system. The Women's National Drama is a modern Korean traditional dance music based on Pansori, which is a traditional Korean music, and the female pansori masterpieces were formed with the content of the new style, and started with the participation of female Korean musicians with excellent artistic skills, discrimination against women at the time, etc. Despite the difficult social conditions, it is considered as a kind of adventure and creative horizon that was attempted in poor finance depending on artists' private expenses and loans. In the post-1950s, the post-1950s society was devastated by people's emotions and the culture and arts environment was difficult, and the popularity of women's national dramas briefly dominated the performing world with explosive power comparable to that of modern idols, and it is meaningful in that it is a mythical traditional performance that impressed the emotions of the common people. According to the Ministry of Culture, Sports and Tourism's Performance Art Survey (2019.12), 2,896 private performing organizations are active in the Korean art market in 2018, of which only 603 (20.8%) are Korean traditional music organizations. Traditional Korean classical music groups have a relatively low proportion of traditional arts organizations compared to other genres. Therefore, we need a loving interest in our precious traditional Korean music, which has no popularity, and especially the role of art organizations in the success and revitalization of traditional arts is crucial in the desperate reality that the artistic skills of women's national dramas must be inherited before they are cut off.
The result of comparative analysis on the operational aspects of both organizations shows that the establishment of an art management system, which is an operating system, among the various causes that affect the decline of the women's national drama and the existence of Takarazuka is an important factor because the art organization should have economic efficiency by management as a unit organization. Therefore, private art organizations are established based on a systematic art management system platform, and it is an important goal to maintain their existence in stable and continuous growth.,Private art organizations should promote flexible art activities through autonomous and independent decision making, increase the efficiency of art management, and contribute to the expansion of good quality cultural enjoyment rights and the promotion and development of our traditional culture and arts through the establishment of art management system with a stable operating system.,The future management system and efficient management system of national and public art organizations will be established as the next research subject.

KCI등재

2'내면 연기' 연구

저자 : 김대현 ( Kim Daihyun )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 36권 0호 발행 연도 : 2020 페이지 : pp. 49-87 (39 pages)

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Naemyun Acting(Inner acting) is the acting term used only in Korea. Fact means acting in a realistic act or speech act based on a psychological acting methodology. This inner acting debate was first begun by An Chi-woon. Afterwards, Kim Bang-ok's thesis and the debate between the two revealed various characteristics of inner acting, but unfortunately the debate did not continue.
This study starts from the modernity of inner research which An Chi-woon said. We have examined how the term inner acting is connected with the modernization of Korea, how through which forms and methodologies peculiar to inner acting were initiated and maintained, and finally, through political implications.
In the end, inner acting is a kind of transformation formed by neo-classicists, realist theatricians, who form the mainstream of Korean theater. Despite no mention of inner acting anywhere in the world, it is definitely a unique phenomenon of Korean theater. The political implications of the term internal acting and modernity, form and formation of inner acting, and inner acting are discussed by the neo-extremists who are the product of Korean modernization and still forming the mainstream of Korean theater. Their utility and value are exaggeratedly packed to the top of an exclusive hierarchy. Therefore, the discourse about inner acting should be expanded and deepened. This study is a fragment of that expectation and hope.

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The purpose of the study was to investigate the relationships between postdramatic play text, in other word 'postdramati'c and postdramatic theater performance in Winterreise[Winter Journey] written by an Austrian playwright, Elfriede Jelinek.
One of the important features of Jelinek's playtext is non-reproducibility. Text created by intertextuality consists of segmental and fragmentary preceding text, like a collage. In the text, specific characters and stories are not reproduced clearly. Regardless of what character says, his (her) long lasting text strongly reflects the non-reproducibility. The postdramatic intertextuality of Jelinek's playtext makes the characters and objects unclear, causing non-reproducibility. The director utilizes the text as a source material to complete his own postdramatic performance.
Discussing how the characteristics of postdramatic text affect the postdramatic theatrical performance, this study considers Korean adaptation of Winterreise, as an example of postdramatic performance. One of the features of postdramatic performance is reproducibility of non-reproducibility. In Jelinek's postdramatic performance, character's words and actions rarely match one another. The existence of non-representative language created by Jelinek's playtexts clashes with the reproduction of the character's behavior. In this process, non-representation of the playtext draws an image that audiences may stimulate unique associations in his (her) mind. The other feature is polyphony that exists in the Jelinek's postdramatic playtexts and it makes a hybrid form of monologue and chorus in the scene. The polyphony of playtexts derived from intertextuality can diversify the directions of the postdramatic performance with the director's choice.
The important significance of this study was to examine the basic tendencies of postdramatic playtext and get a glimpse of its impact on the relationship with its postdramatic performance. In particular, this study can dedicate to enhancing the practical development of postdramatic performances and expanding the theoretical horizon to the theater study in Korea by utilizing Korean adaptation of the postdramatic playtext abroad.

KCI등재

4극단 크리에이티브 VaQi의 공동창작 특성 연구 - 텍스트로서의 사람 장소 사건 -

저자 : 이경성 ( Lee Kyung Sung )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 36권 0호 발행 연도 : 2020 페이지 : pp. 115-149 (35 pages)

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Collaborative creation in the field of performing art has been tried in various forms, both in Korea and abroad, as a strategy to reflect the contemporary social problems of the existing mainstream culture. Collaborative creation has often been used interchangeably with the word 'devising', but Bruce Baton organically used this methodology in the triangular structure of collective creation, collaboration, and devising rather than defining it as a linguistic concept.
In the creative process of groups attempting collaborative creation, some common aspects are found. First, each creative material (body, light, text, space, sound, etc.) is inter-related in a horizontal composition without hierarchy. And in those groups usually different form of 'Research' is proceeding to build the form and content. In addition, actors participate in the whole process as creators, rather than acting a character in conventional way.
Creative VaQi has been actively working in Korea and abroad for the past 10 years and has established their own collaborative creation(devising) methodology. They do not start with the text written by a single writer, but begin with the common questions of members. The question usually comes from contemporary social phenomena. In ≪Several Ways of Conversation≫ (2014), the issue of generation in Korean society was dealt with through dialogue between a Grandmother born in the 1941s and actors in the 1980. And ≪Namsan Documenta≫ (2014) formalized the relationship between the theatre and the social reality outside the theatre. In Before After (2015), the 'Sewol Ferry Disaster' was dealt through actor-creator's personal stories. Several key features emerge in their collaborative creation work. First, the actors function as writers who directly write the lines they will utter on the stage from the production of concepts. Second, they conduct “site-specific” research that has a decisive effect on determining the content and format of their final works. The term “site-specific” here refers to the historical, uniqueness, and social discourse inherent in a space, and the Creative VaQi interpretate it as a “text". Third, they form a structure through choreographic composition based on the collected materials. The choreographic composition is the process of finding the primary flow from improvise arrangement and then building a semantic network through continuous combination attempts.
Creative VaQi's work often exhibits a lack of overall unity and constitutive flaws due to the nature of the collaborative creation work, which requires the creation of content, form, and complete structure within a specified period of time. Nevertheless, their attempts and results have significant figures in Korea's performing arts scene, where literary theatre of single-writer-direction still dominate.

KCI등재

5프로젝트 기반 플립 러닝을 적용한 연출실습 수업설계 및 운영

저자 : 이기호 ( Lee Ki Ho )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 36권 0호 발행 연도 : 2020 페이지 : pp. 151-176 (26 pages)

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Most of the university's arts and practical education are offline, taking a face-to-face approach between professors and students. However, as the educational environment is rapidly changing due to the 4th Industrial Revolution and Covid19 Pandemic, various teaching methods are being developed accordingly, across all disciplines. Now, art education will also need to devise new teaching methods that can overcome the limitations of the existing teaching methods. This study aims to examine the learning effectiveness and educational meaning of the directing practicum class, which is applied with the new teaching method, by designing and operating the online teaching method in the directing practicum class, which had been conducted offline in the theater department.
In previous directing classes, the project-based learning method had been applied and got many positive responses from students, but 3-hour session was too short to make the students' satisfaction level to reach its peak. To compensate the lack of time, the flip-learning was incorporated in designing this new teaching method and on-line materials were given to students before each class.
As for research method, first, on- and off-line methods were combined, second, the weekly class plans were designed accordingly, and then each class was operated and evaluated to find out how students' satisfaction progressed. The new teaching method is named “Project-based flip-learning”, which examines both purpose and principle of project-based learning method and flip-learning. Each week, a newly derived project-based flip-learning was applied in the directing practicum class. Thus, the results of the application of the new teaching method were analyzed by the researchers' self-assessment and the survey of the learners' satisfaction in education to analyze the learning effects and educational implications of art practice classes.
Through research result, self-assessment, and class satisfaction survey, it showed generally positive effects such as the active and self-led transformation of learners' attitude, the facilitation of students' interaction, and the improvement of learning effectiveness. On the other hand, the inconvenience of having to learn in advance through online video lectures was negative. Consequently, the design and operation of the classes by applying project-based flip-runs to the directing practicum class was deemed to require further expansion of the application of these teaching methods as the educational effects improve, although there are inconveniences in online classes.

KCI등재

6연극교과 PCK(D-PCK)신장을 위한 연극교사교육 프로그램 탐색 - <연극교과 교재 연구 및 지도법>을 중심으로-

저자 : 이연심 ( Lee Yeon Sim ) , 설유정 ( Seol Yu Jeong ) , 오세곤 ( Oh Se Kon )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 36권 0호 발행 연도 : 2020 페이지 : pp. 177-250 (74 pages)

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While teachers determine the quality of education, teacher education determines the quality of teachers. As a result, quality of teacher education becomes the core element for determining the quality of education. However, teacher training institute's teacher education program fails to provide systematic education for cultivating excellent teachers with professionality and the program is criticized for lacking connection with school field and not fulfilling the work well. The pending issues of teacher education course are directly related to teacher's professionality and it leads to problem of forming and promoting PCK (Pedagogical Content Knowledge) as the core element in teacher's professionality.
In response, the purpose of this study is to explore the drama teacher education program to promote PCK for drama subject-matter education (D-PCK) by focusing on < Drama Course Curriculum's Materials Analysis and Instruction Method > of subject matter education which plays key role in promoting teacher's professionality.
For the research, this study critically examined the preceding studies in other curriculums related to the research subject by focusing on literature review to clarify with following four aspects. First, this study explored the direction of teacher education. Second, this study set goal of teacher education. Third, this study sought the constituting principle of teacher education and suggested lecture types. Fourth, this study suggested educational contents for < Drama Course Curriculum's Materials Analysis and Instruction Method > and analyzed the relevance between educational contents for each class and D-PCK to derive implications.
The research results were as follows. For direction of drama teacher education, this study set directions as 'education considering individual characteristic', 'education rooting on actual education', 'reflective education based on practice', 'education focusing on D-PCK components', and 'education for experiencing learning-centered class'. This study also set the goal of drama teacher education as 'reflective practitioner', 'practical researcher', and 'curriculum developer'. For composition of drama teacher education's curriculum, this study suggested 6 constituting principles and lecture types including class observation, reflective simulation class, class sharing, and reflective writing. Based on these research results, this study set educational direction, goal, and operational considerations for < Drama Course Curriculum's Materials Analysis and Instruction Method > course. Then, this study suggested the main points and direction of lecture in details. Furthermore, this study analyzed the relevance between educational contents for each class and D-PCK components. The educational contents of < Drama Course Curriculum's Materials Analysis and Instruction Method > for each class influenced on overall D-PCK components. Especially, the educational contents mainly influenced on D-PCK related to actual class performance such as 'knowledge of educational content', 'skills to express dramas', 'knowledge of pedagogy', 'knowledge of evaluation', and 'knowledge of learning dramas'. While such phenomenon proved that the educational contents for each class suggested in this study are designed to experience the actual class and promote professionality, it also implied that the educational contents such as < Theory on Teaching Drama > and < Logic and Essay in Drama Subject > should be systematized and composed differentially to balance out and promote D-PCK components.
This study suggested on further research on suitability and effectiveness of drama teacher education program suggested in this study. It also commented that research on other curriculum courses such as < Theory on Teaching Drama > and < Logic and Essay in Drama Subject > for promoting D-PCK should be given in consideration of sequences. Furthermore, this study also point out that various forms of teacher education program should be developed and studied and that there should be researches on suitability to promote each component of D-PCK.

KCI등재

7고대 한국 가무백희 연희자들 의상에 나타난 무대의상 특징에 관한 연구

저자 : 장혜숙 ( Chang Hye Sook )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 36권 0호 발행 연도 : 2020 페이지 : pp. 251-289 (39 pages)

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The stage costume is an important visual element that embodies various meanings and symbols of the play on stage and helps actors act and create characters. Stage costumes, designed for theatrical effects, are distinctly different from ordinary costumes, and their history has evolved slowly with the development of theatre.
Western stage costumes began with the emergence of powerful theater with the development of Greek theater and continued through the Renaissance until the 19th century. Since the intention of directors and designers have been emphasized, with the emergence of the concept of historical testimony, the expression of more authentic, realistic and delicate stage costumes, it has become one of important visual elements that effectively express various genres of performance and characters.
On the other hand, Korean stage costumes have been very passive and narrowly developed, but the characteristics and conception of stage costumes have gradually expanded with the development of the times. Ancient play and acrobatics costumes, mainly aimed at ordinary people, primarily functional and realistic, were based on everyday costumes of male performers. Through Korea and Joseon Dynasty, costumes of royal female dancers were more colorful, gorgeous costumes and their unified group costumes were increasingly focused on visual spectacle and intended to be conscious of the audience.
The stage costume has various characteristics such as functionality, aesthetics, disguise, reality, symbolism, expression, and playfulness and is organically related to various elements in the play. In the ancient times when the concept of stage costume was insufficient, costumes suitable for performance type and characteristics such as play, acrobatics, and dance were transformed and worn based on the everyday costume of the time. Although it is fragmentary, it was able to identify various features of the costume.
It is hoped that the overall flow and footsteps of Korean stage costumes can be found through historical studies of stage costumes, which are gradually evolving with the development of theater and dance since the Joseon Dynasty.

KCI등재

8연기 교수법 모형 개발 연구 - 미하일 체홉의 분위기(atmosphere) 원리를 중심으로 II -

저자 : 조한준 ( Cho Hanjun )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 36권 0호 발행 연도 : 2020 페이지 : pp. 291-323 (33 pages)

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This study is aimed at promoting a right understanding of theoretical principles for Michael Chekhov's acting technique and finding a possibility for applying them to an actual field of acting education in order to enhance diversity and objectivity of teaching methods for an acting education in Korea. Especially, this study explores a principle of 'atmosphere', which is one of essential elements of Michael Chekhov's acting technique, and draws theoretical features from a cognitive scientific point of view for developing a new model of teaching methods of acting.
According to a verification of cognitive neuroscience, an 'atmosphere' is an interactive product which is not only surrounded around human beings but also radiated from human beings themselves at the same time. The 'atmosphere' exists anywhere and at anytime regardless of human will. It is invisible and abstract but surely be experienced and recognized by human. Therefore, the 'atmosphere' cannot be limited by human linguistic expression as it is not a kind of simple effect of human's brain to a certain phenomenon. It is closely connected with individual characteristics and resultant reaction of all parts of human body. In this sense, cognitive neuroscientists have added a word, 'embodied' in order to explain and prove a process of human cognition. This word, 'embodied' means a concept of expansion that spontaneously generates when the interaction between human cognition and body meets a concept of space or environment. A sense of 'embodied atmosphere' is led to share it with other human beings on stage by the system of mirror neurons. Futhermore, beyond the stage, it becomes an intermediation with another human beings who co-present on the auditorium at the same time.
The system of mirror neurons has played a determinant role in proving the principle of Chekhov's 'atmosphere' from a cognitive neuroscientific angle. Firstly, it is related to an intersubjective characteristic in terms of the principle of 'atmosphere'. It means a neurophysiological interaction between individuals and others. Secondly, it is closely connected with an interdependent characteristic which is strongly formed between the spaces of stage and auditorium.
By focusing above theoretical perspective, this study has offered three models of teaching methods of acting applied the principle of 'atmosphere'. The < model A > is a method for experiencing the concept of 'embodied cognition' that exists in the space around individual actors. The < model B > is a method applied the intersubjective characteristic of the principle, 'atmosphere'. The < model C > is a comprehensive step included the interdependent characteristic of 'atmosphere'.
Treating a study for an art of acting is always difficult and mistakable due to it's intangible characteristics. Especially, educating acting as a teacher needs totally different perspective from doing acting as an actor. It needs not only a conceptual approach with accurate understanding about fundamental theory but also it needs an ability to offer actual ways to apply it with various methods. In this sense, this study is intended to be a new attempt for developing and enlarging of discussing the art of acting as a technique beyond an academic approach.

KCI등재

9극단 시선의 아비뇽 오프 페스티발 프로모션 실제

저자 : 홍란주 ( Hong Ran Joo ) , 신영섭 ( Shin Young Seob )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 36권 0호 발행 연도 : 2020 페이지 : pp. 325-349 (25 pages)

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The reality of the Avignon Off Festival promotion was analyzed based on market analysis. First, we approached the tendency of the entries and the audience. Participating works were successful in work and popularity, and were modern creative plays that utilized the characteristics of the country or the uniqueness of the performance team. The performances were perfect for all ages of the East and West. We distinguished between the works being performed and the performance genre preferred by the audience. There is a difference in probability between the participating teams and the audience's preferred performance genre. The female audience, twice as many as the male audience, and the middle-aged, were the main audience of the festival, and more than 90% of the festival audience were French and Europeans from neighboring countries.
We focused on the reality of performance promotions, focusing on the festival's work, Mirong. The direction of the promotion is that you must visit the festival site in the previous year when the performance is scheduled, and that you should be introduced to a theater that is well-known through the directors or planners of the festival performance group. A well-known theater has its own network and has an audience, so it can help promote the performances of organizations entering overseas festivals at a high production cost and expense. The information that the audience comes and the performances are invited to other festivals just by promoting the streets is far from real. The need for publicity through local planners is absolute in promotions.
A theater company or an artist who wishes to advance into the festival must systematically prepare based on a thorough field survey and network in advance. Human interaction with many stakeholders should be done and the prepared materials should be presented effectively. Countries such as Taiwan, China, and Denmark lend a theater to one of the theaters of the Avignon Off Festival for a long period during the festival, providing a foundation for their troupes to perform. It is hoped that Korea will also provide the foundation for performing at the national level to the troupes who want to advance to the Avignon Off Festival.

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1연안해역에서 석유오염물질의 세균학적 분해에 관한 연구

(2006)홍길동 외 1명심리학41회 피인용

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2미국의 비트코인 규제

(2006)홍길동41회 피인용

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해당 간행물 관심 구독기관

한국예술종합학교 중앙대학교(서울) 성균관대학교 동국대학교 한양대학교
 33
 32
 21
 16
 12
  • 1 한국예술종합학교 (33건)
  • 2 중앙대학교(서울) (32건)
  • 3 성균관대학교 (21건)
  • 4 동국대학교 (16건)
  • 5 한양대학교 (12건)
  • 6 고려대학교 (11건)
  • 7 서울대학교 (9건)
  • 8 가천대학교 (8건)
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