한국 리얼리티 예능 프로그램에 대한 중국 시청자의 시청 태도 분석 - tvN <삼시세끼 어촌편 1>을 중심으로-

한기홍,김종무 커뮤니케이션디자인학회(구 시각디자인학회) 2020 커뮤니케이션 디자인학연구 Vol.71 No.-

문화 유사도가 높은 중국에서 한국 리얼리티 예능 프로그램의 높은 시청률과 지속적인 한국 리얼리티 예능 프로그램 수입이 증가하고 있는 시점에서 한국 리얼리티 예능 프로그램에 대한 중국 시청자의 태도를 측정하는 연구가 필요하다. 이에 본 연구는 이용과 충족 이론을 바탕으로 한국의 리얼리티 예능 프로그램인 <삼시세끼 어촌편 1>에 대한 중국 시청자들의 시청동기가 무엇이며, 시청동기가 시청만족도와 시청몰입에 어떠한 영향을 주는지 알아보고, 시청만족도와 시청몰입은 재시청의도에 어떠한 영향을 미치는지를 분석하였다. 분석결과 첫째, 한국 리얼리티 예능 프로그램인 삼시세끼 어촌편 1에 대한 중국시청자의 시청동기 요인은 ‘오락 추구’, ‘사회적 교류’, ‘대리만족’, ‘현실 도피’, ‘출연자 관심’, ‘컨텐츠 선호’ 요인으로 나타났다. 둘째, 한국 리얼리티 예능 프로그램인 삼시세끼 어촌편 1에 대한 중국시청자의 시청동기 요인이 시청만족도에 미치는 영향 결과 ‘오락 추구’, ‘대리만족’, ‘현실 도피’, ‘출연자 관심’, ‘컨텐츠 선호’요인이 시청만족도에 정(+)의 영향력을 갖는 것으로 확인되었다. 셋째, 한국 리얼리티 예능 프로그램인 삼시세끼 어촌편 1에 대한 중국시청자의 시청동기 요인이 시청몰입에 미치는 영향 결과 ‘출연자 관심’, ‘오락 추구’, ‘현실 도피’, ‘사회적 교류’, ‘컨텐츠 선호’요인이 시청몰입에 정(+)의 영향력을 갖는 것으로 확인되었다. 넷째, 삼시세끼 어촌편 1의 시청만족도와 시청몰입이 재시청의도에 모두 정(+)의 영향력을 갖는 것으로 확인되었다. 본 연구는 지금까지 많이 진행되지 않았던 중국에서 방영하고 있는 한국 리얼리티 예능 프로그램에 대한 중국 시청자들의 시청태도를 분석했다는데 의의가 있으며, 본 연구결과는 리얼리티 예능 프로그램 제작 시 중국인들의 시청태도를 이해하는데 자료가 될 것이다. Korea’s hybrid reality entertainment program became a hit around the globe, opening the doors of licensing these Korean programs for other countries. In particular, the research on measuring Chinese viewers' attitude towards Korean reality entertainment programs is needed. This is especially crucial when high viewership of Korean reality programs in China with high cultural similarity and continuous income of Korean reality entertainment programs are increasing. Therefore, this study aimed to find out what kind of viewers' viewing attitudes are perceived by Chinese viewers for the reality show < Three Meals A Day-Fishing Village 1 >. This study examines what motivates Chinese viewers to watch Korean reality shows, how it affects their viewing satisfaction and their commitment, and how their satisfaction affects their viewing intention. The results of the analysis are as follows. First, the motivation source of Chinese viewers for the Korean reality entertainment program < Three Meals A Day-Fishing Village 1 > was 'solely in for entertainment', 'social interaction', 'satisfaction with entertainment as surrogate', 'avoidance of reality', 'interest of performers', 'interest of its contents'. Secondly, the effect of Chinese viewers' viewing motivation on viewing satisfaction of Three Meals A Day-Fishing Village 1, is that it resulted in the pursuit of entertainment, surrogate for gaining satisfaction, escape of reality, interest in performers, and preference for content. The factor was found to have a positive influence on the viewing satisfaction. Third, the effect of the Chinese audience's viewing motivation on the Korean reality entertainment program < Three Meals A Day-Fishing Village 1 >, resulted in the interest of the performers, the pursuit of entertainment, the escape of reality, the social exchange, and the content preference. The factor was found to have a positive influence on viewers’ engagement. Fourth, it was confirmed that viewing satisfaction and watching commitment of three-time fishing village 1 had positive influence on re-viewing intention. This study is meaningful in that it analyses the audience’s attitude of Chinese viewers for the Korean reality entertainment program that has not been performed much in China until now. The research results of this thesis meaningfully contributed to the making and improvement of reality shows in Chinese television companies.

정서적 참여와 실재(reality)의 재구성 : 한국 리얼리티 텔레비전쇼의 작동방식에 대한 고찰

윤태진 한국방송공사 2011 방송 문화 연구 Vol.23 No.2

This study begins with a simple, but important question: Why has Reality Televison Show (RTS hereinafter) been dominant in Korean television these years? A lot of scholars have been interested in similar topics, but they hardly asked the most substantial question: What is the Reality anyway? With these problematics in mind, I suggested three broad areas for research: First, the nature of the reality, which leads epistemological discussions. The second is main elements of reality in RTS’s. The final is about how these elements create a pleasure among audiences. In order to answer to these questions, I heavily depend on philosophical and logical insights, instead of detailed analysis of empirical data. Still, I reviewed three popular RTS's in Korea and inserted relevant stories about those programs into the discussion when necessary. The summary of discussion can also be presented into three categories. First, the reality does not exist objectively waiting for being found. Instead, it exists between internalization of objectivity and variable subjectivity. In RTS’s, audiences internalize everyday reality television objectifies, but at the same time, challenge the television-molded reality and construct their own reality. Second, it is the “affective participation” which takes the most important role in constructing reality. In other words, affective participation leads affective reality, which, along with perceptual reality, decides the shape of reality for each audience. Finally, I suggest three significant mechanisms leading affective participations: storytelling, voyerism, and role-change of producing staffs and casts. Korean RTS’s utilize those mechanisms, and as a result, audiences’ affective participation expands, affective realism becomes stronger, and the constructed reality is concretized.

리얼리티, 리얼리티쇼, 그리고 일상의 테크놀로지로서의 리얼리티

이희은 사단법인 언론과 사회 2023 언론과 사회 Vol.31 No.3

Originally started as a genre in the television industry, reality shows are now expanding to various media platforms as well as television. This paper reviews the flow of academic discussion on reality shows and the concept of reality while summarizing research on reality shows over the past 20 years. Studies on reality shows have mainly focused on case studies on texts and analysis on production and audiences. However, the diversified expansion of media technology and platforms suggest the need to study reality shows in a wider media environment and everyday context. The three-layered reality concept of entertainment emotion, absence of narrative, and idealized fantasy constituted a reality show as a genre. The paper critically examines that reality as a realistic composition has operated in a way that hides reality while reproducing everyday reality. Therefore, it argues that reality should be understood not as a concept referring to a single program or genre, but as a technology operating within our everyday life. ‘Reality as technology’ refers to the experience and use of media technology that is the most attractive and empathetic and free to reconstruct and reprocess that can be realized using available technology. This suggests the need to expand the scope of research beyond television to various media and everyday reality technologies 텔레비전 산업의 한 장르로 출발했던 리얼리티쇼는 이제 텔레비전뿐 아니라 여러 미디어 플랫폼으로 확장해 나가고 있다. 이 글은 지난 20여 년 동안의 리얼리티쇼 연구를 개괄하면서 리얼리티쇼와 리얼리티의 개념에 대한 학술적 논의의흐름을 검토한다. 리얼리티쇼에 대한 연구는 주로 텍스트 사례 분석과 생산 과정 및 수용방식에 대한 분석에 집중되어왔다. 그러나 미디어 기술의 발전과 플랫폼의 확장은 리얼리티쇼를 더 넓은 미디어와 일상의 맥락에서 연구할 필요성을 제시한다. 오락적 감정, 서사의 부재, 이상화된 환상이라는 세 층위의 리얼리티 개념이 장르로서의 리얼리티쇼를 구성했다면, 사실적 구성으로서의 리얼리티는 실제를 재현하면서 실재는 감추는 방식으로 작동해왔음을 비판적으로 살핀다. 하나의 프로그램이나 장르에만 적용되는 개념으로서의 리얼리티가 아니라, 오늘날의 일상에 작동하는 테크놀로지로서 리얼리티를 이해해야 할 필요가있다. ‘테크놀로지로서의 리얼리티’는 가용한 기술을 활용하여 구현할 수 있는가장 매력적이고 공감 가능성이 크며 재구성과 재가공이 자유로운 미디어 테크놀로지의 경험과 활용을 의미하며, 이는 텔레비전을 넘어서 여러 미디어와 일상의 리얼리티 기술로 연구의 범위를 확장할 필요성을 제안하는 것이다

애니메이션의 실재성에 관한 담론 연구

이용수 한국만화애니메이션학회 2020 만화애니메이션연구 Vol.- No.59

Animation is not a media form which seeks picturesque reality. But we can still discuss about reality of animation. Probably, it is considered a kind of different aspect from general meaning of reality. We generally evaluate reality of animation on the quality of story plausibility or movement smoothness rather than likeness of visual form. Basically, we can criticize on reality but not discuss conceptually. It is because we has considered reality as degree of likeness between references and objects. However, this kind of likeness is not a valid concept on philosophical and academical aspects. We have a base on which we can consider reality as a comprehensive feeling that we all share. If we reconsider reality as emotional sympathy through this base, we can easily refute the general idea that animation has sought a different or isolated kind of reality from general. Shifting the perspective, reality become a thing expressed from distinction not likeness. This is not only strategy of animation. This paper will prove that differentiation of reality and exaggeration is useless notion in an academical aspect through documentary survey and case studies. reality of animation generally reveals through exaggeration of movement, and it is a strategy related to manipulation of sensory ratio and emotional line of a certain scene. The purpose of the paper is in thinking more basically and conceptually about why the exaggeration comes to be distinguished and customized. 애니메이션은 사진적 리얼리티를 추구하는 미디어 형식은 아니다. 하 지만 그렇다고 애니메이션에서 리얼리티를 논하지 않는 것은 아니다. 아 마도 일반적으로 생각하는 리얼리티의 의미와는 조금 다른 측면에서 다루 어지고 있는 것 같다. 대체적으로, 애니메이션의 리얼리티는 시각적 형상 의 닮음보다는 스토리의 개연성, 움직임의 부드러움 같은 미덕에 근거해 서 평가되고 있는 것 같다. 기본적으로 리얼리티는 비평할 수는 있어도 개념적으로 논할 수 있 는 영역은 아니었다. 이는 표상과 대상이 얼마나 닮아 있는가 하는 핍진 성을 리얼리티의 중심으로 보아 왔기 때문이었다. 그러나 핍진성은 철학 적으로나 학술적으로 타당한 개념이 아니다. 리얼리티라는 것을 하나의 공동체가 공유하는 감정의 포괄적 실체로 볼 수 있는 근거가 있다. 그 근 거를 통해서 리얼리티라는 개념을 정서적 공감이라는 측면에서 재고할 수 있다면, 애니메이션이 일반적 인식과는 동떨어진, 또는 다른 종류의 리얼 리티를 추구한다는 일각의 생각을 충분히 반박할 수 있을 것이다. 관점을 바꾸면, 리얼리티는 유사성이 아니라 차이로부터 발현되는 것이 된다. 이 는 비단 애니메이션만의 리얼리티 전략이 아니다. 본 논문은 문헌조사와 사례를 통해 실재성과 과장성이라는 이분법적 구도가, 최소한 개념적으로는, 무력한 구도라는 점을 논증한다. 애니메이 션의 실재성은 주로 움직임의 과장성을 통해서 드러나며, 그 과장성은 감 각비율의 조작과 관련된 전략이며 장면의 감정선과 조화하여 드러난다. 본 논문의 목적은 애니메이션의 리얼리티로서의 과장성이 어떤 이유로 해 서 발현되고 고착된 것인지를 좀 더 개념적으로, 근본적으로 사유해 보는 데에 있다.

Perspectives on the Parameters of Fictional Reality in Drama

Gi Chan Yang 국제언어인문학회 2012 인문언어 Vol.14 No.1

Perspectives on the Parameters of Fictional Reality in Drama Gi Chan Yang (University of Suwon) The definition of what is ‘fictive’, ‘fiction’ and thus ‘fictional’ today is a definition in constant change. Traditionally, the definition of fictive and what may constitute as fictional, is whether the suggested and proposed is ‘accepted’ as real or the suggested and proposed is ‘considered’ as real. This paper proposes to discern how fictional reality manifests in a dramatic environment, especially in that of the Avant-garde environment. In traditional fictional reality the fictive image that was presented as ‘being’ real was comprehended as such, but in the dramatic reality fictive image created is more psychologically based. In the Avant-garde theater the fictional reality manifests in a different manner, the reality is based on psychology. The fictional reality depends on the universalism in creating on stage the actualness needed. Comparing what is accepted and what may be accepted as real may be suggestive of the difference between traditional fictional reality and dramatic reality: acceptance through recreation of minute details of an actual reality to psychological acceptance of a fictive representation. Avant-garde theaters in this sense opens a new door in the parameters of fictional reality that goes against the traditional methods of defining the fictional reality.

The GermiNation in the Narration of Colonial Reality: The Two Cases of Conrad and Joyce

( Hye Ryoung Kil ) 한국제임스조이스학회 2009 제임스조이스저널 Vol.15 No.2

Both Conrad and Joyce can be designated as colonial modernists, as the modernity of their texts represents the nationality of Poland and Ireland, which was suppressed by the colonial rule of Russia and Britain, respectively. In Conrad`s and Joyce`s text, the individual is equivalent to the nation or the traditional community-the individuality of which is shackled by colonization. In this respect, the conflict narrated in Conrad and Joyce between the individual and the community, both in struggle, signifies the conflict within the colonized nation between its ideal-or national consciousness-and its reality. The conflict is resolved when the idealistic protagonist recognizes and integrates the colonial reality into a new reality of nation. Conrad and Joyce, thus, aspire for the creation of a new reality, or at least, the recognition of colonial reality throughout their narratives. In Conrad`s narrative, the strongly idealistic protagonist who struggles with the reality of "darkness" represents, though symbolically, the radically democratic ideology of the Polish Republic fighting with its autocratic reality. With the reality of Eastern autocracy being unacceptable and the ideal of Western democracy having failed, Conrad`s heroes who deny the reality are doomed, which ironically endorses the reality and potentially suggests hope for the Polish nation. In Joyce`s narrative, on the other hand, the protagonists, such as the poor artist Stephen and the Jewish advertising-man Bloom, embody the reality of colonial Ireland as much as its national consciousness, which is yet to be created. In other words, Joyce accepted the colonial reality, from which he created the "conscience" or consciousness of the Irish race that had never been a sovereign nation, unlike Conrad`s Poland. Joyce`s Bloom, who integrates the Jewish individual consciousness and Irish communal reality, personifies a vision of the Irish nation.

증강현실(AR) 기반 모바일 어플리케이션의 감성적 디자인 경험요소 연구

조희경(Cho, Hee Kyung),김성훈(Kim, Sung Hoon) 한국디자인문화학회 2018 한국디자인문화학회지 Vol.24 No.2

증강현실(Augmented Reality: AR)은 현재 스마트미디어 산업에 중요한 키워드로 자리 잡고 있다. 현실의 이미지와 가상의 이미지를 동시에 겹쳐 하나의 영상으로 보여주는 증강현실 기술과 관련하여 연구와 개발은 활발히 이루어지고 있다. 그러나 기존의 연구들은 증강현실의 기술에만 집중되어 있으며, 사용자의 니즈(Needs)를 반영한 콘텐츠의 개발은 아직까지 활발하게 진행되지 않고 있다. 따라서 현대사회의 스마트미디어 발전과 더불어 증강현실의 콘텐츠는 사용자의 경험과 인지를 바탕으로 하는 발전이 필요하다. 본 연구는 증강현실 기반 모바일 어플리케이션 환경에서 사용자의 적극적인 니즈와 사용성을 극대화 하기 위한 발전 방안으로서, 사용자의 경험과 인지를 통해 증강현실 기반 모바일 어플리케이션의 이해와 만족도를 높여줄 수 있는 감성적 디자인 경험요소를 적용하여 그 유형을 분석해보고자 하였다. 일차적으로 이론적 고찰을 통하여 증강현실 용어의 개념 및 증강현실기반 모바일 어플리케이션의 유형을 살펴보고자 하였으며, 감성적 디자인 경험요소로 본능적, 행동적, 반성적 감성디자인 요소를 도출하여 연구에 적용하였다. 도출된 감성적 디자인 경험요소에 따른 증강현실 기반 모바일 어플리케이션 분석모형을 통하여 남성/여성의 성별에 따른 그룹의 선호도 조사를 실시하였으며, 분석을 통하여 증강현실 기반 모바일 어플리케이션에 적합한 감성적 디자인 경험요소를 확인하였다. 분석결과, 증강현실 기반 모바일 어플리케이션은 남성보다 여성이 본능적 감성디자인에서의 선호도가 더 높았으며, 감성디자인의 세부적 요소에 따라 선호도가 다르게 나타났다. 본능적 감성디자인에서는 남성은 ‘형태’에 대한 응답이 가장 높았고, 여성은 ‘첫 느낌’에 대한 응답이 가장 높았다. 행동적 감성디자인에서는 남성이 ‘기능’에 대한 응답이 높았으며, 여성은 ‘성능’에 대한 응답이 가장 높았다. 반성적 감성디자인에서는 남성과 여성 모두 ‘만족감’에 대한 응답이 가장 높았다. 그러므로 스마트 미디어 시대에 각광받는 한 분야인 증강현실은 사용자 간의 빠른 인터랙션을 요구하고 즉각적인 반응을 기대하는 사용자에 대한 이해를 바탕으로 한 개발이 요구되어진다. 또한 사용자의 감성과 경험을 충족시켜 줄 수 있는 증강현실 기반 모바일 어플리케이션의 콘텐츠에 대한 연구가 지속적으로 필요할 것이다. Augmented Reality(AR) is currently an important keyword in the smart media industry. Research and development have been actively carried out in relation to the art of Augmented Reality, in which real images an virtual images are simultaneously superimposed and displayed as a single image. However, existing studies are concentrated on Augmented Reality technology, and development of contents reflecting the needs of users has not yet been actively developed. Therefore, the contents of the Augmented Reality should be developed based on the user’s experience and cognition. This study is a development plan to maximize the users’ active needs and usability in Augmented Reality mobile application environment. It is an emotional design experience elements that can enhance understanding and satisfaction of Augmented Reality mobile application through user experience and cognition and to analyze the types. First of all, I would like to examine the concept of Augmented Reality terminology and the types of mobile application based on Augmented Reality through primary theoretical considerations. I had applied intrinsic, behavioral, and reflective design elements to empirical research experience. Based on the developed emotional design experience factors, I analyzed the preference of the man and woman group. As a result, the Augmented Reality mobile applications showed higher preferences in women’s instinctive emotional design than men, and their preferences was different according to the detailed elements of emotional design. In the instinctive emotional design, the male responded the most to the form, and the female responded to the first feeling the most. In the behavioral emotional design, the male responded to the function and the female responded the most. In the reflective emotional design, both male and female responded the most to satisfaction. Through the Augmented Reality mobile application analysis model and confirmed the emotional design experience factors suitable for Augmented Reality mobile application through Augmented Reality, which is a field of interest in smart media, is Augmented Reality mobile application that can satisfy users’ emotions and experiences based on understanding to users who demand quick interaction between users and expect immediate response. Therefore, It might be need continuing for research.

소아환자의 국소마취 시 Virtual Reality 주의분산이 통증 및 두려움에 미치는 효과

김두수,이상호,이난영,지명관,안지혜,Kim, Doosoo,Lee, Sangho,Lee, Nanyoung,Jih, Myeongkwan,Ahn, Jihye 대한소아치과학회 2021 大韓小兒齒科學會誌 Vol.48 No.1

이번 연구의 목표는 virtual reality 주의분산이 국소마취 시 소아의 통증과 두려움에 미치는 영향을 평가하는 것이다. 주의분산을 사용하지 않은 대조군, 천장 모니터를 이용해 TV를 시청한 군, virtual reality 기기를 이용한 군으로 나누어 국소마취를 시행하였다. 환자의 통증과 두려움을 평가하기 위해 국소마취 전과 국소마취 시점에 심박수와 산소포화도가 각각 측정되었으며 국소마취 후에 Wong-Baker Faces Pain Rating Scale이 기록되었다. 대조군과 TV를 시청한 군에 비해 virtual reality를 이용한 군은 심박수 변화량과 Wong-Bakers Faces Pain Rating Scale이 유의하게 낮았다(p < 0.05). 연령군별 비교에서는 5 - 7세 어린이에서, Frankl 행동평가척도별 비교에서는 3등급의 어린이에서 virtual reality를 사용한 군과 대조군 사이에 가장 큰 심박수 변화량과 Wong-Bakers Faces Pain Rating Scale의 차이를 나타냈다. 소아 환자의 국소마취 시 virtual reality 장치가 통증과 두려움의 완화에 효과적임을 확인하였으며 효과적인 주의분산 매체로 사용될 수 있을 것으로 사료된다. The purpose of this study was to evaluate the effect of virtual reality distraction on pain and anxiety in children during local anesthesia. Local anesthesia was administered to 3 groups: a control group without distraction, a group watching TV, and a group using a virtual reality device. The pulse rate and oxygen saturation rate were measured before and at the time of local anesthesia to assess the patients' pain and anxiety, and the Wong-Baker Faces Pain Rating Scale was completed after local anesthesia. The group using the virtual reality device had a significantly lower heart rate change and lower Wong-Baker Faces Pain Rating Scale score than those in the control group and the group watching TV (p < 0.05). The greatest difference in heart rate change and Wong-Baker Faces Pain Rating Scale score, between the control and virtual reality distraction groups, was seen in 5 - 7-year-olds and a Frankl's behavior rating scale grade of 3. The virtual reality device alleviated pain and reduced anxiety in children during local anesthesia.

Examples of rehabilitation exercises utilizing the virtual reality

( Joong Sook Lee ),( Ki Hoon Han ),( Kang Ho Bae ),( Jin Hyung Shin ),( Hee Yeon Lee ),( Doe Yeol Choi ) 한국체육학회 2016 국제스포츠과학 학술대회 Vol.2016 No.1

Purpose: Virtual reality is a technology created by using computers that can function to allow the user to feel the immersion and interact through the experience of human senses such as sight, touch, smell. To overcome various limitations, such as the environment and the place can be a good mediator because virtual reality is processing program, not reality. Let``s know about the plan and the development direction of rehabilitation exercise utilizing these virtual realities. Method: The processing program of the virtual reality may serve as one of the mediators that can overcome the various limitations, such as the environment and location. The stimulation applied to a variety of human movement and sensory organs to the development of virtual reality technology makes it even more similar to reality. We search for rehabilitation exercise equipment and program cases using virtual reality. Through this, we propose for the future direction of the rehabilitation exercise utilizing virtual reality. Result: Exercise rehabilitation program utilizing virtual reality is mostly composed of simple content such as game with strength training and utilizing biological signals using isokinetic equipment. In rehabilitation exercises, practical applications of virtual reality can be found without difficulty. In Korea, COWALK made from Korea Institute of Science and Technology (KIST) is designed to reflect in gait rehabilitation aimed at extracting the EMG palsy, Plantar Foot Pressure, EEG data. The Man & tel measure and evaluate muscle strength and range of motion in the joints of patients, and it has been implemented a muscular reinforcement and body stabilization exercises. Overseas, the US Microsoft has developed a military physical therapy equipment using the Kinect to recognize your movement. Upper limb rehabilitation robot Armeo, Lower limb rehabilitation robotic Lokomat from Switzerland Hocoma have developed applying software for controlling the treatment strength and the difficulty level depending on the cognitive abilities of a patient. In fact, it has been implemented as seen the virtual reality screen and configured along with the virtual character. Conclusion: Virtual reality technology has not yet presented the exact evidence on how it affects your brain and cognitive abilities because it is not the same as reality. Due to the expensive equipment and data fees, it will find it difficult to secure popularity. But virtual reality is a technology that meets the inherent human desire with a technology that makes it all possible is not possible in reality. Virtual reality content users are thought to increase. With increasing number of users of the virtual reality system, virtual reality can be improved and the stability of the VR device will be consistently proven. Value of the exercise and rehabilitation fusion VR is believed to be raised.

Perspectives on the Parameters of Fictional Reality in Drama

양기찬 국제언어인문학회 2012 인문언어 Vol.14 No.1

The definition of what is ‘fictive’, ‘fiction’ and thus ‘fictional’ today is a definition in constant change. Traditionally, the definition of fictive and what may constitute as fictional, is whether the suggested and proposed is ‘accepted’ as real or the suggested and proposed is ‘considered’ as real. This paper proposes to discern how fictional reality manifests in a dramatic environment, especially in that of the Avant-garde environment. In traditional fictional reality the fictive image that was presented as ‘being’ real was comprehended as such, but in the dramatic reality fictive image created is more psychologically based. In the Avant-garde theater the fictional reality manifests in a different manner,the reality is based on psychology. The fictional reality depends on the universalism in creating on stage the actualness needed. Comparing what is accepted and what may be accepted as real may be suggestive of the difference between traditional fictional reality and dramatic reality: acceptance through recreation of minute details of an actual reality to psychological acceptance of a fictive representation. Avant-garde theaters in this sense opens a new door in the parameters of fictional reality that goes against the traditional methods of defining the fictional reality.