창작 뮤지컬 ``혜초``의 무대의상 연구

김장현(Jang Hyeon Kim),김영삼(Young Sam Kim) 한국복식학회 2012 服飾 Vol.62 No.5

This study examines the stage costumes of the creative musical Hyecho`, which was performed six times in the Chung Ang Art Center hosted by Chung-Ang University`s performance & media agency from December 20 to 22 in 2006. The stage costumes were made based on these basic design elements of stage costumes that were dyed: line, silhouette, material, and color. First, the creative musical ``Hyecho`` presents a new form of fusion theatre, which blends Korean traditional music and dance with videos. Thereby, the musical has opened a new phase in Korea`s creative performing arts. Second, in musical performances that combines dance and songs, stage costumes should be made not only to attract the audience`s eyes, but also not to interrupt actors` vocalizations and movements by taking their physical features into account. Also, costumes should be made in consideration of their relationships with visual elements, including stage settings and lighting, Third, the musical features fusion-style stage costumes, which combines Hanbok, the Korean traditional costume, and Indian traditional costumes with modern costumes, For the line and silhouette, costumes show the beauty of curves through the curves of Hanbok and India`s traditional costumes and also through irregular pleats of pants. Also, by using cotton materials, which is easy to dye and not readily deformed, costumes feature colors that are found in nature through a gradation dyeing technique. In doing so, it offers visual amusement to the audience by making stage costumes look like a beautiful painting. Fourth, the stage costumes of the chorus feature costumes that use lining and pleated skirts using belts, and various accessories, including necklaces that use strings in order to express evil spirits. Since there is not much time to change costumes during a performance, using such items are helpful to show the unique characteristics of actors effectively during the limited time. Also, coordinating with the lighting director allows the costume designer to make better costumes for the chorus and make the performance more dramatic. Finally, it was not necessary to wash (he costumes of the chorus of the fusion musical Hyecho. 2006 axe it was performed only six times. However, when using dyed costumes for the long-term performance, and low durability that can result in the deformation of costumes. As performing arts are made in various forms and are diversified, it is needed for stage costumes to change accordingly through new attempts and various ways of expression.

연극 ‘하얀중립국(원제:안도라)’의 무대의상 전개과정

조우현,조현진,박민재 한국의상디자인학회 2013 한국의상디자인학회지 Vol.15 No.4

The stage costume in theater, along with the stage art, is the element that has the biggest visual effect in helping the audience to understand the theater. Nevertheless, in the domestic theater production system, compared with the other public performance products, the stage costume has been rented or purchased due to the lack understanding of the importance of the stage costume and budget problem, and thus the role of the stage costume has been undervalued. Such a phenomenon is more noticeable in the small scale theater. However, in this play White Neutral Nation (Original: Andorra), the production team and the directing team recognized the importance of the costume in the early stage of production , and accordingly lots of efforts, such as staff meetings and budget allocation, were made for the stage costume. As a result, the entire production process of the stage costume could be examined. Recently, performance culture in Korea has made rapid progress and diverse forms of public performances are created and planned. Accordingly, the level of audience has been rising and the interest in the stage costume is also rising. So, it can be said that not only the stage costume but also the production system that makes it are important. This research examined the production process of the stage costume only of the play White Neutral Nation but it is considered necessary to make researches on the production process of the stage costume used for the theater of different themes and public performances of different kinds and to systematize their production process of the stage costume.

오페라 ‘아이다’ 무대의상에 관한 고찰

유명의 한국일러스아트학회 2013 조형미디어학 Vol.16 No.2

The goal of this article was to study about stage costumes of the Verdi's 'Aida' which holds the stage internal and external nowadays. And also study about stage producing and theoretical backgrounds of 'Guiseppe Verdi' & 'Aida'. In this article, several opera DVD were sorted and analyzed mainly with the stage costumes including costume design, color, materials and stage design. Of course these DVD were acknowledged for main producers and were masterpieces that live recorded DVD. Consequently, First, the changes of opera producing influences opera stage costumes. As the greatest change, the absolute status of producer became paralleled with the conductor compare to past. This suggests that the gravity of stage costumes came into the picture. In first performance of 'Aida' in Cairo Theater in Egypt, the sets and costumes are designed by Egyptian influences such as paintings of pyramid and Egyptian heritages. Second, the producing methods of opera is in diverse progressing continually for 150 years. But in spite of These changes, traditional stages and costumes are still existence. and there are reinterpretations of opera libretto, delicate and psychological producing, and reproduction of past production. According to these changes, stage costume brought modern fashion style, ethenic influence and recycling of old fashion style. And these remarkable changes should be considered as a manufacturing stage costume related to gorgeous light and the high tech-movies rather than stage design. Therefore stage costume design has to attempt with an initiative spirit. For the diverse producing of opera, systematical training course is needed for deep understanding on the works and multiplicity of analysis on the characteristics in the intention of expressing of the play. We need educated experts who has sensuous design ability which should be helpful to understand cultual, art, social background based on the humanists grounded according to this implication. For the development of performing arts, especially good quality of opera performances, big interests about stage costumes are needed. 본 연구는 베르디의 ‘아이다’ 무대의상에 대하여 고찰한 것이다. 무대연출과 무대의상, 오페라 ’아이다‘와 ’주세페 베르디‘의 이론적 배경에 대하여도 고찰하였다. 오페라 ’아이다‘의 공연영상물 중에서 특징적인 무대의상을 보여주었던 오페라 ’아이다‘ 공연 을 선별하여 본 연구의 대상 공연으로 설정하였다. 연구 결과, 오페라 무대의상은 연출의 변화와 맥락을 같이하며 변화하고 있음을 알 수 있었다. 초연에서는 이집트문화를 상징하는 신전의 벽화나 고대 이집트 의상이 무대의상의 기본 콘셉트였었다. 그러나 초연 이후 약 150여년의 세월동안 오페라 무대는 계속 진화하고 있었다. 우선 오페라의 무대가 다양해졌다. 이러한 무대유형의 변화는 무대의상에도 지대한 영향을 끼치게 되었다. 그러나 이러한 변화에도 불구하고 여전히 원작과 초연을 그대로 따르는 재현의 무대를 확인할 수 있었다. 또 리브레토 자체를 재해석한 무대연출도 찾을 수 있었다. 이 경우 시대는 물론 상황까지도 재해석하여 연출을 설정함으로서 무대의상도 이에 따라 획기적인 변화가 있었다. 오페라 제작 시기를 무시하고 현대의 상황으로 설정하는 경우에는 현대패션의 흐름을 반영하는 무대의상을 필요로 하였다. 또 다른 연출의 변화로는 아리아 음악을 중심으로 부각시키는 심리극적 연출을 들 수 있다. 이러한 연출은 협소한 무대에서도 손색없는 오페라 연출이 가능하며 무대의상의 역할이 더욱 커짐을 알 수 있었다. 과거에 성공적인 연출을 경험했던 극장들의 기 프로덕션의 재활용 연출도 확인되었다. 이 경우에는 과거의 무대의상을 리폼하거나 같은 형태로 새롭게 제작하는 등 무대의상 활용의 범주가 더욱 다양해질 수 있음을 알 수 있었다. 시대와 상황의 변화, 다양한 연출에 호응하는 수준 있는 무대의상을 위해서는 문화와 예술과 사회적 배경을 이해할 수 있는 인문학적 소양이 필수적이다. 이러한 소양을 바탕으로 감각적인 디자인 능력과 작품에 대한 이해, 등장인물에 대한 다양한 분석을 통해 무대 위에서 작품의 내용과 연출의 의도를 잘 표현할 수 있는 무대의상이 필요한 것이다. 우리나라 공연예술의 발전, 오페라의 발전을 위해서는 수준 있는 무대의상에 대한 많은 관심이 필요한 시점임을 확인할 수 있었다.

“미디어 어린이 영어뮤지컬 마술피리” 무대의상 디자인

이지혜(Ji Hye Lee),김양희(Yang Hee Kim) 한국복식학회 2014 服飾 Vol.64 No.7

Performing arts offer fun and knowledge and are directed for various purposes. Performing arts are also used as a means for education. Children`s English media musical, “The Magic Flute” is the performance reflecting all these. The author of this study took part in stage costume production, and this study was carried out aiming at designing and producing stage costume in line with educational purpose and intention. This study consists of an analysis stage for the existing performances of “The Magic Flute”, and a stage costume design and production stage for children`s English media musical, “The Magic Flute”, First, this study classified and analyzed the stage design and stage costume design of the existing “The Magic Flute” by concept, and then, examined their features, respectively. and this study unfolded the stage costume concept, based on the analyses of existing performance`s stage costume and the characters` personality and features described in the current study subject”s script. As the last step of this study made each character”s stage costume. A total of 69 costumes for stage costume were made for 7 types of characters. This study is considered to have huge significance in that the stage costume was developed for “The Magic Flute”.

연극 “피카소의 여인들”의 무대 의상 제작 시스템에 관한 연구

김영삼 ( Young Sam Kim ) 복식문화학회 2011 服飾文化硏究 Vol.19 No.1

Today, a variety performance premiered in Korea, works of art as an advanced production planning and production system is becoming. Accordingly, the field of stage costume also increased collaboration with foreign producers and production systems and the advancement of the stage costume are required are becoming. The opening performance of the 30th anniversary of the Seoul Theater Festival was selected as Towol Theater Theater in 2009, April 16 to 26 of Picasso`s women`s costume is the study of production systems. This work directing and stage design by inviting domestic producers from foreign fields, and co-authored the work in the field of stage costumes in collaboration with foreign producers that are worth study and research work. In this study, this work has a practical study of costumes throughout the production system, an advanced stage costumes to contribute to the development of the field. The research methodology book data, collected papers, Internet resources through research and theoretical studies play ``Picasso`s women`s stage production of the award total to an empirical study was undertaken. The results of this study are as follows. First, the costume director for making a scholarly grasp of the direction of the investigation is ongoing throughout the process of creating the costumes. Second, foreign producers and co-author of the stage when the award, if other than purely domestic producers and create costumes to build production systems. Third, foreign producers and co-costume design and costume making coherent explanation for the processing of the list(Costume Breakdown List) are developed. Fourth, the actual performance over the director`s intention to visualize the presentation was good enough, and the idea of the costume crew was taken to the director`s idea of directing a play that reflected the will has a big meaning.

창조적 무대의상디자인을 위한 표면 표현기법 연구

장혜숙 ( Jang Hye Sug ) 한국연극학회 2003 한국연극학 Vol.0 No.21

It is necessary to develop the various techniques and materials in the area of stage art with the change of new expression in the art. Stage costume is one of visual art forms to express a play through the actors. Stage costume is a moving scenery and is to be center of all dramatic acting. It also appeals personality and emotion of an actor as an essential element of visual scene and is strongly focused from the audience. Costume designers need to know aesthetic value about materials, surface textures and lighting to design effective stage costumes so that they are mixing and using various materials and techniques as a way of revealing visual vocabulary and motion of the play. Every surface has it`s own texture. The surface texture expresses a mood of the play and supports color, line and psychological effect of the stage costume. Especially, it represents character, status, personality, situation, and seasons of the play. Therefore, the texture of stage costume is so important that it should be considered sincerely during design and construction processes. In this research, I`d like to show surface modifications for creative stage costumes using new and mixed expression techniques that would be used before. Two plays, (Tempest) and (A midsummer night`s dream) of Shakespeare have been chosen to show the surface expression techniques. Some characters in the plays are selected and their miniatures and costumes are designed and constructed. I made a contrast concept between two fantasy worlds, Prospero`s world and Oberon`s world, to prove the validity of the techniques. Specially, I highlighted texture changes under the various stage lighting positions. Furthermore, I expanded the work area to textile art for seeking the possibility of new expression method of stage costume. Many photograph resources were suggested for the design and construction processes. Also different photo angles were depicted to show the texture changes under the various stage lights. In conclusion, the research on expression techniques for the surface and the texture is not only the expansion of good visual quality of stage costumes but also the development of higher value of performing art.

러시아 구성주의 연극의상에 관한 연구 : Meyerhold의 작품 속에 나타난 무대의상을 중심으로 In the Works of Meyerhold

우주형 한국의류산업학회 2004 한국의류산업학회지 Vol.6 No.2

Influenced by Constructivism Art, Constructivism theatre projected the future with the help of participating artists and the development of new technologies. Therefore, this thesis studied the stage costumes in the plays of Meyerhold who represented Constructivism Play and showed its characteristics. The stage costumes in Meyerhold's plays followed the rules of Constructivism Play and showed several unique characteristics, such as the Bio-mechanic as a characteristic in his plays, functionality that facilitated the movement based on Taylorism, simple shapes, and easy cutting. Constructive artists saw the stage of constructive plays as a laboratory where they can display their designs, directly portraying future life forms through stage costumes and props. Stage costumes were no more a supporting tool that had described the play. Following the new concept of stage costumes, working costumes and stage costumes came to be regarded as the same. In turn, this led to new models and special costumes such as sportswear or specialized garments. Constructivism artists foresaw the future through the plays, with their fundamental basis for stage costumes shown in the later works of ordinary costumes.

오스카 슐레머의 Triadic Ballet의 영향을 받은 현대 아티스트 무대의상의 조형적 특성 - 아힘 프라이어, 안드레이 바르테네브, 어슐러 색스를 중심으로 -

손주희,전재훈 한국패션디자인학회 2021 한국패션디자인학회지 Vol.21 No.1

무대예술은 고대부터 지금까지 인간의 유희적 본능을 만족시키기 위해 발전해온 시각 예술이다. 20세기 초부터 지금까지 무대예술 분야에 한 획을 그은 오스카 슐레머는 1922년 선보인 Triadic Ballet 무용공연에 서 기하학적 실루엣의 복식우선형 의복을 선보여 화제를 모았고, 이후 현대 아티스트에게 큰 영향을 미쳤다. 이에 본 연구는 선행연구와 매체에서 그로부터 영향을 받았다고 언급된 세 명의 아티스트인 아힘 프라이어, 안드레이 바르테네브, 그리고 어슐러 색스가 연출한 무대의상의 조형적 맥락이 오스카 슐레머와의 유사점과 차이점은 무엇인지를 비교․분석해 보고자 하였다. 오스카 슐레머의 Triadic Ballet 무대의상의 조형적 특징 은 첫째, 색채의 측면에서 칸딘스키가 주장한 삼원적 색채론이 주를 이뤘다는 것과 둘째, 형태적 측면에서 기하학적 도형 형태의 복식우선형이라는 것, 셋째, 소재의 측면에서 기존의 발레공연 무대의상과는 다른 소 재를 사용했다는 것이다. 또한, 무대의상 외적인 요소의 특징은 네 가지로 정리할 수 있었는데 이는 첫째, 흰 칠을 한 얼굴 표현, 둘째, 기하학적 형태의 소품 활용, 셋째, 소재로 인한 무용수의 동작 제한, 넷째, 무대의 상과 배경의 관련성이다. 오스카 슐레머와 3인의 아티스트의 무대의상은 복식우선형에 기본을 둔 의상이라 는 점에서 형태의 측면에서 가장 높은 유사성을 보였다. 차이점을 살펴보면, 아힘 프라이어는 무대배경에서 회화적인 표현을 사용했다는 점, 안드레이 바르테네브는 무용수가 장치를 달고 의상을 제어했다는 점, 어슐 러 색스는 무대의상을 유연한 소재로 제작하여 무용수들이 자유롭게 움직일 수 있다는 점이지만 상기 언급 한 차이점들은 조형적 차이라기보다는 연출방식에서의 차이였기 때문에 조형적 측면에서 바라보았을 때 아 티스트의 개별적인 독창성이나 차별성은 미흡했다. 최근 발표된 다수의 선행연구에서 현대 무대예술은 기술 적 요소에만 의존하여 시각적 효과를 남용한다는 비판과는 대조적으로, 오스카 슐레머는 순수예술의 조형적 요소들 간의 조화를 연출력과 무대의상을 통해 보여주었다는 점에서 현대의 아티스트들에게 기본적 조형원 리의 중요성을 다시 한번 상기시켜준다. 따라서 본 연구는 무대예술사와 복식사 분야 모두에서 그 학술적 가치를 지녔다고 사료된다. Stage art has been developed since ancient times to satisfy human’s entertainment instincts. Oskar Schlemmer, who made a mark in the field of stage art, drew attention when he presented his geometric clothing at the 1922 “Triadic Ballet” dance performance, which later greatly influenced modern artists. Thus, this study tried to compare the similarities and differences between Oskar Schlemmer and three modern artists, Achim Freyer, Andrey Bartenev, and Ursula Sax, who were mentioned to have been influenced by him in prior research and media. The formative features of Oskar Schlemmer’s “Triadic Ballet” stage costumes were: First, the use of Kandinsky’s color theory, second, the form of geometric shapes as the clothing-first type, and third, a different material from that of the existing ballet costumes. Next, the characteristics of the external elements of his stage costumes could be summarized into four categories: First, the expression of faces painted white, second, the use of geometric props, third, the restriction of the movements of the dancers due to the material, and fourth, the connection between stage costumes and the background. The stage costumes of Oscar Schlemer and the three artists showed the highest similarity in terms of form such as the clothing-first type. As for their differences, Achim Freyer used pictorial expressions in the stage background, Andrey Bartenev had control of the costumes through the device, and Ursula Sax utilized flexible materials to make dancers move freely. However, the above-mentioned differences originated not from forms but from directing method, and each artist’s individual originality could not be found in their costumes. In contrast to the criticism that modern stage art abuses visual effects by relying on technological elements, Oscar Schlemmer’s stage costumes showed the harmony of the formative elements of arts. This study has its academic value in both the performing arts history and costume history in that his works showed the importance of basic formative principles.

국내 무대의상 제작시스템 방법론 정립에 관한 연구

김영삼(Young Sam Kim) 한국복식학회 2012 服飾 Vol.62 No.4

Ever since the year 2000, Korea`s musical markets has invited famous overseas license performances and have therefore cooperated with staffs working overseas in regards to stage costumes. This study aims to suggest the methodology of the stage costume making process according to the present advanced production system of Korea`s musical market, The researcher participated in the stage costume making work of ``Chicago`` as a costume supervisor, It took place at the Opera House of Seongnam Art Center from January 10, 2010 to February 28, 2010. Furthermore, there was significance in reinforcing academic values and implementing practical making process of stage-costumes based on the actual field work. The method of this research was carried out through a theoretical research and a case study that focused on empirical research. As for the research scope, it was limited to the actual stage-costumes that the researcher fully engaged with as a costume supervisor of the musical ``Chicago.`` The results of this study were as follows. The stage costume making process of the musical ``Chicago`` was categorized according to the classification of production system in the performance. For pre-production,1)it was divided according to the information of the actor and the analysis of the bible. Rehearsal period was divided according to the product clothes and fitting. Production week & preview were divided according to the changeover of clothes and the arrangement of dressers. The Run was divided according to the inspection of the situation concerning clothes in general during the performance. Post-Production Period was divided according to the collection of clothes and the implemented database. This study eventually suggested appropriate stage-costume making processes for the costumes making environment according to the expansion of overseas license musical market. However, it has a limitation of the research scope to the musical ``Chicago.`` The creative performances of the domestic version are planned in diverse forms and come to abroad animate by the Korean Wave. Therefore, the field of stage-costume is necessary for the establishment of practical schemes of the system and copyright in accordance with the environment.

오페라 마농 레스코(Manon Lescaut)의 무대의상 디자인 비교연구

양수미(Su Mi Yang),권미정(Mi Jeong Kwon) 한국복식학회 2013 服飾 Vol.63 No.1

As performing arts including operas are getting popular these days, the importance of stage costumes is strengthened. Stage costume is one of the artistic requisites for opera performance, it plays an important role in describing the play`s situation, the director`s style and the person`s character. Nevertheless the study regarding the opera`s costumes is not active, especially the comparative study on the same opera`s costumes performed by different opera companies have hardly been made. Therefore this study compared 5 Manon Lescaut opera performances: the Metropo-litan Opera(1980), the Flemish Opera(1991), the Metropolitan Opera(2008), the Seoul Metropoli-tan Opera(2010) and the Vienna State Opera(2010) and made clear the difference between the four. From this study, we can get the following conclusions. First, the Metropolitan Opera`s costumes in 1980 act and in 2008 act ascertained Rococo dressing. Because the costume designer for both acts was the same person, the general costume styles of the two acts are similar. Second, as for the Flemish Opera and Seoul Metropolitan Opera, there was a significant drop in fancy details and trimmings in the costumes. But the costumes made strong impressions dues to its color and luminosity contrast. Third, Vienna State Opera costumes had the boldest designs and it reflected modern designs as well. This study is meaningful in that it is based on the comparison study on the same opera stage costumes designed by different directors. Afterward this study is expected to contribute toward study on opera stage costumes and stage costume`s development.