통영오광대 복식의 의도성에 관한 연구: 대사를 중심으로

김초영 ( Cho Young Kim ),김은정 ( Eun Jung Kim ) 한국의류산업학회 2015 한국의류산업학회지 Vol.17 No.4

Korean traditional mask play was done at outdoor to let spectators join the play and take mask at performance and to have disadvantage of poor transfer of dialog to the spectators. Performers transferred dialog directly and/or indirectly by using visual costume, and Tongyeong Ogwangdae with many dialogue expressions concerning the costume made use of proper intention to help spectators understand. In this study, the author watched performance of Tongyeong Ogwangdae to collect and investigate not only image material but also photograph material and to classify intention of the costume into three: First, contents of the dialog were intended to make shape. The costumes of Hongbaek Yangban, Meoktal Yangban and Jorijung of the 2nd section gave spectators contents of the play, and the costume of Halmi Yangban of Nochangtal of the 4th section described dialog of Halmi. Second, dialog had connotative metaphor. The costume of Yeongno of Yeongnotal of the 3rd section symbolized an unfinished dragon, while that of Halmi of Nongchangtal of the 4th section did sacred of Halmi. And, Nongchagtal Ai``s costume of the 4th section prayed for value of Ai, richness of the life and fecundity. Third, conflict between characters was intended by indirect media. The costume of Maltukee of metaphor mask of the 2nd section became base of the assertion supporting that Maltukee had better birth history than Yangban had, and the costume of Yeongnoyangban of Yeongnotal of the 3rd section produced conflict at disclosure of identity.

호두까기 인형의 아동극 무대의상 디자인 연구

이성은(Sung Eun Lee),이명희(Myoung Hee Lee) 한국복식학회 2014 服飾 Vol.64 No.1

The purpose of this study was to identify the characteristics of stage costumes of a children`s play and to creatively design them for the play, ‘The Nutcracker’, in an attempt to expand the means of expressing designs for stage costumes for children`s plays. The Nutcracker, a play written by the German author, E. T. A. Hoffman in 1816, is better known today through its ballet adaptation by Tchaikovsky, and various versions have been presented by ballet companies and drama producers. The characteristics of the stage costume in a children`s play are visual artistry, decoration, activity, and visual attention. The costume shows visual artistry because stage costumes with high artistry can increase the elements of fantasy and visual satisfaction in a play for children. The various decorative elements in stage costumes can help capture the attention of children and enhance their interest in the play. As dynamic movement and lines are often used to prevent children from becoming bored, activity must be taken into account when designing stage costumes. Visual attention is required to help children become better immersed in a play, and color selections for the stage costumes need to be emphasized. Thirteen characters were selected to develop a total of 13 pieces of stage costume in a standard size for a 9-year-old child. The design was focused on enhancing the fantastic elements and the entertainment value, and diversified surface decoration techniques were applied to the costume to draw the attention of children and express the formative beauty.

무대의상 연구의 동향 분석

최현옥 ( Hyun Ok Choi ),이경화 ( Kyong Hwa Yi ) 한국패션비즈니스학회 2014 패션 비즈니스 Vol.18 No.2

costume so as to provide basic information on directions for future studies. The data was collected from the theses of domestic journals of the Korean Studies Information (KSI)which were published until December, 2012 and retrieved by a keyword related to the design of stage costume, costume for performing art, and etc. Theses and articles for the analyses were a total of 200 published. Reviewing the theses by dividing the times into 8 Chronicles of 5 years in each term. The findings of the study are as follows: According to the chronological analysis, there has been a steady increase in the rates of the musical, ballet, dance, and circus costume and cutting edged technology such as LED has been utilized in the performing art, currently. The real production and making up of the costumes have been increasing as well by replacing of illustration and rendering of the costumes. In the recent costume of the performing arts show the tends of the visual effects and up-sizing, comprehensiveness and fusion. From the analysis of the background of the work, those were confirmed that the most common historical period was modern period, and places were France, England, and Egypt. In regard to research themes and methods, many of research papers utilized content analysis method, character analysis method as research methods. The most popular presentation of the costume designs was rendering, costumes schedule and illustration. However, development and explanation of the patterns was insufficient and constructions methods and real works(costumes) were usually omitted in the articles.

페미니즘연극 ‘아이들의 놀이시간’ 무대의상 디자인 연구

박은정(Park, Eunjung) 한국디자인지식학회 2014 디자인지식저널 Vol.32 No.-

본 연구는 릴리언 헬먼 ‘아이들의 시간(The Children"s Hour)"을 재현한 연극 공연에서 활용되는 무대의상의 디자인에 관한 논문이다. 재현 연극의 형식 및 내용은 원작을 그대로 따라 가는데 반하여, 그 공연의 활용되는 무대의상은 제작자의 의도에 따라 새롭게 디자인되는 경우가 대부분이다. 페미니즘 연극 ‘아이들의 시간’ 역시 재현 연극으로써 원작을 충실히 따라 공연되지만, 무대 의상은 관객과의 효과적이고 긴밀한 소통을 위하여 현대적 감각으로 재해석되어야 할 것이다. 이러한 점에서 본 연구는 페미니즘 연극 ‘아이들의 놀이시간’ 연극에서 전달하고자 하는 작품 내용과 등장인물들을 분석하고, 그것을 토대로 각각의 등장인물의 성격과 특성을 표현할 수 있도록 무대의상을 현대적 감각으로 디자인하고 제작하여 실제 공연에 활용할 수 있도록 한 것이다. 연구방법은 무대의상의 제작에 대한 실증적 방법을 적용하였으며, 연구의 범위는 서경대학교 공연예술학부 레파토리 공연에 활용되는 연극으로 한정하였다. 효과적인 시각전달 매체로써 제작된 무대의상은 배우와 관객의 커뮤니케이션을 이끌어 내는 중요한 역할을 수행함으로써 무대의상에 대한 관심을 고취시키고 나아가 공연문화예술의 발전에 기여하게 될 것이다. This writing is a work about design of stage costume that appeared in the reenacted play The Children"s Hour whose original author is Lillian F. Hellman. In the reenacted plays, the format and contents follow up with the original generally. However, most of those performance costumes are changed in design from the scratch according to producer. The Children"s Hour as a reenacted play also complies faithfully with the original work but the necessity for reinterpretation in the form of modern sense is recognized in order to make the stage costumes more friendly toward audience in an effective manner. This writing, therefore, started working on the analysis about contents and characters in the play. Then, newly designed costumes were produced with a modern feel and touch for play stage and they were actually applied to the performance. The stage costume produced as effective visual medium would play an important role to deliver communications between performers and audience. It would also contribute to the development of performance culture and art through arousal of interest in the stage performance costume.

테마파크 공간에 따른 에버랜드 캐스트 의상 분석

장지선 ( Jisun Jang ),하지수 ( Jisoo Ha ) 한국의류학회 2016 한국의류학회지 Vol.40 No.6

This article is designed to establish fundamental design criterion for theme park cast costumes in accordance with play type and space. There is an understanding that theme parks act as a play space that is designed to meet diverse playing desires. To analyze cast costumes, the theme park - `Everland` in South Korea as an example, area was divided into attraction space and non-attraction space. Attraction space is mainly for full-scale play content areas and the non-attraction space is to enforce the attraction space experience. Roger Caillois`s play theory states that there are 4 play types; Illinx, Mimicry, Agon, and Alea. All 4 play types were shown through attraction and Mimicry at non-attraction. Each cast costume was analyzed in terms of apparel design elements - silhouette, textile, color, detail, and props - related to play type facility and cast role. Criteria for theme park cast costume designs were suggested based on the results. Illinx cast members who fulfill a safety-checking role wear high chroma warm color costumes with the accent on details in bodice cutting lines, collar edges, pockets, buttons and decorative ornaments. A complementary contrast is also used. The guidance cast in Illinx may wear a suit in bright/vivid color. Mimicry guidance cast costumes show meticulous perfection in imitation with the figure in its space. From head to toe, color, textile, and silhouette - every detail and even props should match the character. Agon cast costumes are strictly limited in detail and decorative ornament usage as well as in color, since they are in charge of the management and operation of a competition. Alea cast`s role is a self-demonstrator. Alea cast members should be a real tarot card reader. However, a manual should control their costumes. A total of 10 cast roles at a non-attraction space should be designed to show job patterns clearly in accordance with the whole theme at the park.

무대의상의 유희성과 그 접근에 관한 연구

장혜숙 ( Hye Sook Chang ) 한국연극교육학회 2014 연극교육연구 Vol.24 No.-

As the physical and the spiritual activities except for activities are related to the human survival and daily life, play is a non-purpose activity participated voluntarily. Play or amusement would be described by the physical and the spiritual activities irrelevant to the human survival and daily life and therefore it has no purpose. Human develops the variety of creative activities in the world through the play with rich imagination, which provides elasticity to unpack the life and gives an opportunity to overcome a sense of inferiority. In other words, it brings modern people catharsis play with release and free feeling in sterile emotions because of the fact that their essence is based on the fun and enjoyment. Theatre is a genre of art that best represents the type and features of play. Modern audiences are intended to prefer the propensity of comedy works causing laugh to escape from the harsh reality and to give off free emotion. Comedy has very wide range of meaning spectrum and is therefore connected not only to satire, irony and the grotesque black comedy with combination of contradiction and heterogeneity but also humor and wit. The satire and humorous play always gives freedom spiritual pleasure as well as playful fun by showing animosity against absurdity and contradiction scattered in daily life. Comicality in the negation of social reality has always satire and aggressive nature, in this case, also has the character of generosity and reconciliation. Theatre costumes are expected to be valuably and effectively amusing when design elements are added in accordance with various comic devices of the works in the right place for the right costumes. The writer and director produce fun and laugh through comic devices, which express superiority by holding others up to ridicule and derision, physical deformity and distortion of the defect or sexual parts. The devices also include stubborn and unexpected sense of restraint due to incongruity, involuntary and dehumanized movements, the reversal of the expected change, and other ridiculous situations such as mask and transformation or disguise . The playful costumes on the basis of comic devices would therefore let the audience meditate on deep inner meanings as well as laughter and enjoyment. A deep study of amusingness of costume design through various design approaches and understanding comic devices would play a role in pursuing creative value and meaning in the culture and art, and entertainment industry in the future.

한⋅중⋅일 무대복식 문화의 경계와 삼투에 관한 연구 -가면극⋅경극⋅가부키에 체현된 문화의지와 미의식을 중심으로-

양유미,이미숙 한국디자인문화학회 2019 한국디자인문화학회지 Vol.25 No.2

The purpose of this study is to redefine the status of the Mask-play costume differentiated on the world stage by looking at the aesthetic consciousness displayed in the stage costumes of Korean, Chinese, and Japanese traditional plays through the ‘culture will’, which is the most fundamental source of each nation’s identity and a root of aesthetic sense from the perspective of comparative aesthetics. Based on the analysis of data such as prior research and related books, the research method is to analyze the aesthetic qualities related to Jeob-hwa will, Dong-hwa will, Eung-chug will etc., which are classified as ‘culture will’ of different countries and after examining the aesthetic characteristics and setting up an aesthetic category, the aesthetic characteristics are derived, based on this, we examined the aesthetic consciousness of the traditional Korean, Chinese, and Japanese plays. The concept of ‘culture will’ as the theoretical foundation of research was reconstructed from the research of art philosopher Choi Kwang-jin and prepared as an analysis frame The absence of feature data that cannot be satisfied in the stage-costume-book related to traditional plays in the three countries was supplemented through DVD and YouTube data. The aesthetic consciousness derived from the ‘culture will’ of Korea, China, and Japan was presented by the Yulryeo-Mi of Life, Haehak-Mi of Shin Myung, Sosaec-Mi of Gwangmyeong, Sobak-Mi of Mugigyo while China is characterized by Saui-Mi of Chusang, Soongo-Mi of WiYong, Sangjing-Mi of Eum yang, Yeobaeg-Mi of Hyeon-Yu and Japan is characterized by Dansun-Mi of Jeolje, Eungchuk-Mi of Punglyu, Seubsaek-Mi of Seojeong. Based on this, as a way to redefine the status of Korean mask play costumes differentiated on the world stage, it is necessary to recreate the unique aesthetic sensibilities of Korean people such as the Yul Ryeo-Mi of Saengmyeong, Hae Hak-Mi of Sinmyeong, Sosaec-Mi of Gwangmyeong, Sobak-Mi of Mugigyo. The above research is expected to be used as an academic basis for the Korean stage costume history by respecting the unparalleled unique values of traditional plays of the three countries and also organizing the artistic value of the Korean mask plays through the differences in aesthetic consciousness derived from the ‘culture will’ of Korea, China and Japan. 본 연구의 목적은 비교미학의 관점에서 각 민족 정체성의 가장 근원이며 미의식의 뿌리라고 할 수 있는‘문화의지’를 통해 한⋅중⋅일 전통극의 무대복식에체현된 미의식을 살펴봄으로써 세계무대에서 차별화된 우리 가면극 복식의 위상을 재정립하는데 있다. 연구방법은 선행연구 및 관련 서적 등의 자료 분석을 통해 국가별 ‘문화의지’로 대별되는 접화의지, 동화의지, 응축의지 등과 관련성이 있는 미적특질을 살펴보고 미적범주를 설정하여 미적특성을 도출한 후, 이를 토대로 한⋅중⋅일 전통극 복식의 미의식을 고찰하였다. 연구의 이론적 토대가 되는 ‘문화의지’의 개념은 예술철학자 최광진의 연구를 재구성하여 분석틀로마련하였다. 한편 무대복식도감에서 충족할 수 없는형상자료의 부재는 DVD, 유트브 자료 등을 통해 보완하였다. 한⋅중⋅일 국가별 문화의지에서 도출된 미의식은 한국 가면극은 생명의 율려미, 신명의 해학미, 광명의 소색미, 무기교의 소박미 등으로 나타났으며중국은 추상적 사의미, 위용의 숭고미, 음양의 상징미, 현유의 여백미 등이며, 일본은 절제된 단순미, 풍류적응축미, 서정적 습색미 등으로 나타났다. 이를 토대로세계무대에서 차별화된 우리 가면극 복식의 위상을 재정립하기 위한 방안으로 신인합일의 미학에서 도출된 생명의 율려미, 신명의 해학미, 광명의 소색미, 무기교의 소박미 등의 우리민족의 고유한 미의식을 토대로 가면극 복식의 고유한 심미성을 살리려는 재창조 작업이 필요하리라 본다. 이상의 연구는 한⋅중⋅일 국가별 ‘문화의지’로부터파생된 미의식의 차이를 통해 삼국의 전통극의 서로비교할 수 없는 고유한 가치를 존중하고 아울러 우리가면극 복식의 예술학적 가치를 체계화함으로써 한국무대복식사의 학술적 기초자료로서 활용될 것으로 기대된다.

악기 종류에 따른 기능적인 연주복 디자인 연구

여승화(Seung Wha Yeo),정삼호(Sam Ho Jung) 한국복식학회 2004 服飾 Vol.54 No.4

Stage costumes perform not only the instrumental but also the expressive functions. The major goal of this study is to develop the functional and aesthetic costume designs for musical players considering the characteristics of instruments, players` postures. . The scope of this study is restricted to the musical costumes for female adult soloists playing the wind and string instruments. This study is composed of theory research, empiricalresearch and manufacturing a real costume. First, theory research contains theory of musical costumes and that of pure musical areas. Concept. characteristics and wearing effects are analysed in theory of musical costumes. Second, designs of instruments and playing postures are analysed in the theory of pure musical areas. Proper and improper designs are compared based on the survey asking the favorite designs of 56 wind and string players. Third, I manufacture a stage costume for a harpist, The conclusions of this study are as follows. First, wind and string players think the functionality of costumes more importantly than the esthetic sense. And there are differences in design preferences for different playing postures. Second, string players basically use arms, fingers and the upper body. Wind players use fingers more than string players and do abdominal breathing. Third, string players think the design of arms and sleeves because of frequent usage of bow and prefer the design without sleeves. On the contrary, wind players think the silhouette importantly because of standing playing posture. Fourth, players don`t think that the accessory is not important and want it so long as it doesn`t hinder playing. Fifth, shoes plays more important role than costume in case of playing posture with using pedals and moving legs frequently. Lastly, both wind and string players prefer the design with simplicity and comfort most.

창작 음악극의 무대의상 연구 - 국악칸타타 '나는 일어나리라'를 중심으로 -

김영삼,김성수 한국의류산업학회 2012 한국의류산업학회지 Vol.14 No.5

This study proposes a process to design and analyze stage costumes by design elements for the costumes of the Korean traditional music cantata ‘I Will Rise’. This study states fundamental references to make costumes of similar performances in the future and develop costume designs based on the format of a play. The findings are as follows. First,the costume production process of ‘I Will Rise’ is conducted in the order of directing intentions and script analysis, costume design, miniature production, costume production, costume modification, run, and post-production. Second, an overall Korean silhouette is expressed through the creation of costumes based on the construction of Korean traditional clothing (hanbok); however, from a detail perspective, a modernistic sensitivity is expressed through the use of modern elements (wing shoulders attached to shoulders, narrow ribbons made in a string form, and wristlets and belts) not found in hanboks. Third, tie-dying is applied to the costume colors of each character to highlight the traditional and unique feeling of dye and symbolic colors that effectively represent each role used to communicate the storyline and character emotions to the audience. Fourth, materials for costumes are cotton and linen (frequently used to create the texture of a Hanbok) as the costume of each character is emphasized to the use of additional and detailed materials such as artificial leather, hemp, and silk.

연구논문 : 창작 음악극의 무대의상 연구-국악칸타타 “나는 일어나리라”를 중심으로-

김영삼 ( Young Sam Kim ),김성수 ( Sung Soo Kim ) 한국의류산업학회 2013 한국의류산업학회지 Vol.14 No.5

This study proposes a process to design and analyze stage costumes by design elements for the costumes of the Korean traditional music cantata ‘I Will Rise’. This study states fundamental references to make costumes of similar performances in the future and develop costume designs based on the format of a play. The findings are as follows. First, the costume production process of ‘I Will Rise’ is conducted in the order of directing intentions and script analysis, costume design, miniature production, costume production, costume modification, run, and post-production. Second, an overall Korean silhouette is expressed through the creation of costumes based on the construction of Korean traditional clothing (hanbok); however, from a detail perspective, a modernistic sensitivity is expressed through the use of modern elements (wing shoulders attached to shoulders, narrow ribbons made in a string form, and wristlets and belts) not found in hanboks. Third, tie-dying is applied to the costume colors of each character to highlight the traditional and unique feeling of dye and symbolic colors that effectively represent each role used to communicate the storyline and character emotions to the audience. Fourth, materials for costumes are cotton and linen (frequently used to create the texture of a Hanbok) as the costume of each character is emphasized to the use of additional and detailed materials such as artificial leather, hemp, and silk.