2차원 나노물질의 마찰특성

이창구 한국트라이볼로지학회 2012 한국트라이볼로지학회 학술대회 Vol.2012 No.4

演劇演出의 史的 考察 : 그리이스時代부터 르네상스 時代까지 from Greece to Renaissance

李昌九 淸州大學校 1983 論文集 Vol.16 No.2

As concurrent director ages, 4 ages of play history, Greece, Rome, middle age, and renaissance, were investigated to find out the ways of play directing. Like Greece age, there are play works and the patterns guess the age's directing technique from the play works themselves. But like Rome and middle ages, there are little play works left and the situation is hard, so the method of guessing from theatre organization, stage, decoration, and lines between actors was used to find out directing technique. 1. In Greece play directing, they pursued whole play's ensemble in the creation of chorus rythem's beauty and group movement beauty. 2. In Rome age, there was high development of acting technique where the emphasis was put on instant body movement of actor himself and his face appearance, 3. In middle age, they made stages with spectable effect, 4. In Renaissance, the play directing was able to appear only by the talent of genious writers like Shakespeare, Molie're etc, Putting these 4 age's Directing methods, it became the foundation of modern way of directing.

條件化 接近法(Conditioning Approach)에 대한 理論的 考察

李昌龜 단국대학교 경영대학원 1994 經院論叢(壇國大學校) Vol.13 No.-

Anton Chekhov 「The Cherry Orchard」의 社會性에 대한 考察

李昌九 청주대학교 예술문화연구소 1987 淸藝論叢 Vol.1 No.-

The Cherry Orchard is generally regarded as Chekhov's masterpiece. An ancestral estate is to be sold at auction, but there is no last-minute rescue by a hero, no parchase of the estate by a villain. The Cherry Orchard is a symbolic, nostalgic story of the futility of the old Russian nobility and their inability to cope with the modern world, but they are treated with sympathy and understanding, Madam Ranevsky, with her kindness, extravagance, and gracious ways, enders herself to us from the start. On the other hand she is helpless and useless when it comes to practical problems is the new world of business and progress. The best she can do on the eve of the auction is to give one more lovely party. And so Lopakhin, the newly-rich businessman, bays the Cherry Orchard-Lopakhin, whose father had been a peasant on the estate, who had never forgotten Madam Ranevsky's kindness to him as a ragged boy with a bleeding face. The play lives bacause of the vividness and compassion with which Chekhov has drawn his characters. It is not necessary to have murders, mistaken identity, intrigue, and other theatrical paraphernalia. These characters become our intimate acquaintances ; consequently even trivial events become moving. Thus Chekhov revealed hidden potentialities, if not in the life of the time, at least in ways of seeing and showing human life, if not in society, at least in the dramatic art.

舞臺扮裝論(Ⅰ)

李昌九 동국대학교 연극영상학부 1976 演劇學報 Vol.9 No.-

Commedia dell'arte에 관한 연구

이창구 청주대학교 예술문화연구소 1997 淸藝論叢 Vol.14 No.-

Alongside the drama of the court and academy there grew up another quite different form, Commedia dell'arte. It was actor-centered, improvied and adaptable to almost any playing condition. The actor was the heart of commedia dell'arte and almost the only essential element. The script was a scenario which merely outlined the principal action and its outcome. The actors improvised the dialogue and developed the complications as the situation seemed to demand. The same set of stock characters appeared in all the plays performed by a single troupe, and the same actor always played the same role. The typical characters may be divied into three categories : lovers, masters, and servants. There are many theories about the origin of commedia dell'arte. Some scholars argue that it was descened directly from the Atellan farce of Rome, and that after the fall of Rome actors preserved traditions which sprang back into prominence when times became more favorable. There are similarities in physical appearance and basic traits among some of the commedia stock figures and those of Atellan farce, but there is no positive evidnece to prove any direct connection between them. The commedia actors played for all types of audiences and produced a genuinely popular theatrical form. Many troupes ere invited to play at the courts, but they were equally at home in the market place or at fairs ; they at times performed regular drama, but wrer more famous for their improvised scripts. After public theatres began to the built in Italy in the seventeenth centry, the troupes made use of them, and scenarios were written to take advantage of perspective scenery, machinery, and special effects. The commedia exerted considerable influence on a number of later writers, perhaps most notably moliere in France. The renewed interest in classical drama, the development of the picture-frame seage, perspective scenery, elaborate machinery for special effects and scene shifting, opera, and commedia dell'arteall of these products of the Italian Renaissance were to be important influences on the theatre of later times.

앙드레 앙뜨와느(Andre´ Antoine)의 自由劇場(The´a^tre Libre)에 關한 硏究

이창구 청주대학교 예술문화연구소 1997 淸藝論叢 Vol.11 No.-

By the late 1880s both a realistic-naturalistic drama and realistic staging under the supervision of a demanding director had emerged. The first of the independent The´a^tres was the The´a^tre Libre, founded in Paris in 1887 by Andre´ Antoine(1858~1943), a clerk in a gas company who began his work with amateur actors and with stage furniture taken from his own home. An enthusiastic follower of Zola and Saxe-Meiningen. Antoine Sought absolute fidelity to real life. He worked out every detail of background and action with great care, He designed interior setting as though they were real rooms, arranged everything as in real life, and only then decided which wall should be removed for stage presentation. He did not always rearrange furniture to accommodate the audience's view, but rather tried to achieve absolute naturalness in the stage picture. He used real properties and tried to reproduce, every detail of an environment Applying the same standards to the actor's movements and speech, he held long and painstaking rehearsals to achieve the effects for which he was striving. The The´a^tre-libre accomplished four important things. It demonstrated how to produce realistic plays realistically, and it humanized the acting of poeitc or romantic drama. It stimulated new playwrights ; some wrote first for Antoine's venture, some only for the commercial theaters. Antoine himself went on to a distinguished career as the leading French director prior to World War Ⅰ ; in 1897, backed at last by stock-holders, he made the Menus-Plaisirs into the The´a^tre-Antoine, and then was called to head the state-financed Odeon from 1906 to 1914. More important still, the example of the The´a^tre-libre created imitators in Paris itself and in Berlin and London. Even the "little theater" of the United States with their amateur compnies and their subscription memberships, as well as the Moscow Art Theater, own somthing to Antoine.

舞臺裝置의 史的 考察

李昌九 淸州大學校 1985 論文集 Vol.18 No.2

The basic repertory of Greek architecture was in crease I in one respect only, the open-air theater achiered a regular, defined shape. Before the fourth century, the fourth century auditorium had simply been a natural slope, preferably curved, equipped with stone benches, now the hillside was provided with concentric rows of seats, and with staircase-aisles at regular intervals, as at Epidaurus. At the center is the orchestra, where most of the action took place. At the extreme right we see the remains of a hall-like building that formed the backdrop and supported the scenery. In terms of the stage setting, the Roman was similar to the Greek except that the Roman stage setting was more complicated and brilliant. I studied the literature on the drama, the changes of stage setting and the effect of stage setting on the drama from ancient times to the 20th century and I came to the conclusions as follows. Stage setting changes in accordance with the changes of the feature of each period. In ancient times, they had religeous Drama, in middle ages drama for entertainment in a pantomime, and in the 20th century they had modern drama with have various froms of expression. Stage setting has been in fluenced by the tides of art such as romanticism in the days of Renaissance, realism in the 19th century, surrealism and realism and symbolism in the 20th century. Stage setting has close relationship with the shape of stage. In ancient times stage setting had close relationship with the circle stage and the semecircle stage in the field, the moving stage in middle ages and the modern shape of theater in modern times. Architects and painting artists have contributed to the stage setting the architects in the days of Renaissance, the painting artists in the 19th century and the painting artists, sculptors and architects in the 19th century have contributed much to stage setting. Stage setting has been influenced by the development of stage engineering. The 19th century gave to the stage the realistic play and its fourth wall. The 20th century provided settings and lights, that were far more beautiful and expressive than anything the theater had known before. The new stagecraft made over the production methods of the theater of the civilized world. Also, it enabled plays to be written in new ways. It made the realistic drama more illusive, but it also helped the writer to develop a very different technique.

舞臺裝置의 史的考察

李昌九 청주대학교 연극영화학과 1987 연극영화학보 Vol.1 No.-

The basic repertory of Greek architectecture was in creased in one respect only, the openair theater achierd a regular, defined shape. Before the fourth century, the auditorium had simply been a naturl slope, preferably curved, equipped with stone benches, now the hillside was provided with concentric rows of seats, and with staircase-aisles at regular intervals, as at Epidaurus. At the center is the orchestra, where most of the action took placce. At the extreme right we see the remains of a bll-like building that formed the backdrop and suporthe scenery. In terms of the stage setting, the Roman was similar to the Greek except that the Roman stage setting was more complicated brilliant. I studied the literature on the drama, the changes of stage setting and the effect of stage setting on the drama from ancient times to the 20th century and I came to the conclusions as follows. Stage setting changes in accordance with the chages of the feature of each period. In ancient times, they had religeous D-rama, in middle ages drama for entertainment in a pantomime, and in the 20th century they had modern drama with have various froms of expression. Stage setting has been in fluenced by the tides of art such as romanticism in the days of Renaissance, realism in the 19th century, surrealism and realism and symbolism in the 20th century. Stage setting has close relationship with the shape of stage, In ancient times stage setting had close relose rleationship with the circle stage and the semecircle stage iri the field, the moving stage in middle ages and the modern shape of theater in modern times. Architects and painting artiets have contributed to the atage setting the architects in the days of Renaissance, the paintists in the 19th century and the painting artists, sculptors and architects in the 19th century have contributed muck to stage setting. Stage setting has been influenced by the development of stage engineering. The 19th century gave to the stage the realistic play and its fourth wall. The 20th century provided settings and lights. that were far more beautiful and expressive than anything the theater had known before. The new stagecraft made over the production methods of the theater of the civilized world. Also, it enabled plays to be written in new ways. It made the realistic drama more illusive, but it also helped the writer to develop a very different technique.

호남지방의 저수지의 매몰상황과 저수량에 관한 조사연구

이창구 한국기술사회 1970 技術士 Vol.3 No.10

Fourteen reservoirs maintained by the local land improvement associations in the province of Chullabuk-Do and 20 reservoirs maintained by those in the province of Chullanam-Do, were surveyed in connection with a correction between storage capacity and sediment deposit. In addition to this survey, 3347 of small scale reservoirs, that lie scattered around in the above mentioned two provinces were investigated by using existing records pertaining to storage capacity in the office of City and Country, respectively. According to this inrestigation. the following conclusions are derived. 1. A sediment deposition rate is high, being about 10.63m$^3$/ha of drainage area, and resulting in the average decrease of storage capacity by 27.5%. This high rate of deposition could be mainly attributed to the severe denudation of forests due to disorderly cuttings of trees. Especially, in small scale reservoirs, an original average design storage depth of 197mm in irrigation water depth is decreased to about 140mm. 2. An average unit storage depth of 325.6mm as the time of initial construction is decreased to 226mm at present. This phenomena causes a greater shortage of gation water, since it was assumed that original storage quantity itself was already in short.