K-연극 개발을 위한 전통극 무대 요소의 창의적 융합방안

• 영문명: Creative Convergence of Stage Elements of Traditional Drama for the Development of K-Theater
• 발행기관: 조선대학교 국제문화연구원
• 저자명: 공진희(Jinhee Gong)
• 간행물 정보: 『국제문화연구』Vol.18 No.1, 67~87쪽, 전체 21쪽
• 주제분류: 인문학 > 기타인문학
• 파일형태: PDF
• 발행일자: 2025.06.30

국문 초록

In this study, the purpose and necessity of the study were to analyze the stage elements of traditional plays for the development of K-drama and to suggest a convergence plan of creative stage elements unique to K-drama. Based on the theater expression technique, the stage space of the play and the traditional play was analyzed to create basic data that can be converted into K-drama by fusion of the stage elements of the traditional play, and the stage elements of each genre were analyzed and organized to present a creative convergence plan.The following conclusions were drawn for the creative convergence of stage elements for the development and activation of K-theater.Looking at the convergence plan for the development and activation of K-drama, first, as a method of converging the stage space of K-drama, we would like to present the convergence of the stage space between the traditional theater stage and the theater. It is necessary to be able to properly converge the stage space suitable for the play by converting the traditional theater stage, the set, and the proscenium stage, which emphasizes a circular stage that is free to communicate with the audience. Second, it is intended to present the convergence of science and technology and traditional culture as a method of converting stage elements of K-drama. This should be able to be directed across various eras and places in the space of the stage by converging stage elements using AI technology such as stage art, video and media art, holograms, and virtual spaces as a basic expression method for traditional culture and artistic characteristics, and using holograms and stereoscopic images. Third, as a method of convergence of stage production of K-theater, it is intended to present a method of reinterpreting tradition from a modern perspective and convergence of Western and modern materials with traditional culture and art. In other words, it is intended to suggest two methods of stage production in which traditional materials are reconstructed using modern stage art, and Western materials and play contents are reconstructed using traditional Korean stage art.If so, I would like to make the following suggestions for the research and directing of the replacement for the development of K-theater.First, the stage elements of K-theater must clearly express the traditional color of K-theater. Like K-POP and K-drama, Korean emotion and artistry are differentiated from the visual characteristics of the stage, so K-theater must be sensible from the stage elements. Second, in order to develop various K-theater genres, it is urgent to systematically organize the stage production method and terminology for K-musical that combines K-operas, Korean traditional music, and dance using pansori. This study is expected to serve as the basis for revitalizing K-theater as a new genre by converging the stage elements of traditional plays and plays for the development of new K-theater in existing Korean K-theaters. After the end of World War Ⅱ, the cultural diversity spread throughout the world, and the feminism movement grew activated. As a result, the value of gender equality found its feet in the 21st century. Nevertheless, the phenomenon of Cinderella complex meaning women’s dependency on men is still showing itself in a lot of visual media, and the works are more popular with the female audience. This paper aims at illuminating the necessity of understanding this antinomic situation with the voluntaristic approach. For a method of study, I compare the appearances of Cinderella complex in Cinderella (1950) and Pretty Woman (1990) that are two representative films belonging to the types of Cinderella and introduce the feminist criticisms about them and the similar works. After this, I reinterpret the two films in the light of the concept of the sexual will by a voluntarist philosopher Arthur Schopenhauer.

목차

1. 서론

2. 연극의 개념과 무대

3. 한국전통극의 개념과 무대

4. 창의적 무대요소 융합전략

5. 결론 및 제언

참고문헌

키워드

연극 전통극 무대요소 무대연출 공연 융합 Theater traditional theater stage elements stage production performance fusion