논문 : 민족지학적 글쓰기로서의 비극 -에우리피데스의 《바카이》와 소잉카의 《에우리피데스의 바카이》를 통한 사례 연구-

최재오 ( Jae Oh Choi ) 한국연극교육학회 2005 연극교육연구 Vol.11 No.-

논문 : 연출가와 배우의 "행동 동사" 사용 방법에 관한 연구

최재오 ( Jae Oh Choi ),신소현 ( So Hyun Shin ) 한국연극교육학회 2015 연극교육연구 Vol.27 No.-

The purpose of this study is intended to clarify the concept of an ‘action verb’ derived from ‘the method of acting’, and to find out the proper way to use action verb for director and actor. The use of action verb; when actors read their lines in a script, they discover ‘the action’, and apply it into the ‘verb’ form. The concept of action verb is not just a word for action, but the way more effectively describes the method of actor’s acting; it aids actors to act dramatically and dynamically. The concept of action verb is obvious, and it offers clear direction of character``s behavior. That’s why it is useful as an actor’s tool of communication and analysis of text. Despite of the usefulness of this verb, it is hard to apply to text. It means there is not only a lack of awareness about action verb, but also there is a major problem that none of guideline about actable verbs exists to help how to use these verbs. Thus, there are three methods to select action verb; (1)objects, (2)relationships, and (3)appropriateness. First of all, actors are necessary to determine either how they are going to make the other actors closer or further(acceptance/rejection), or how they will make the others pleasant or unpleasant. Also, the intensity of these actions depends on the relationship between characters. It can be defined as characters’ cohesion, so the action is distinguished into social relationships and personal relationships. A part of Act 1: the dialogue between Masha & Medvedenko from Chekhov’s <Seagull> was used as an example for actioning. The two characters’ conversation can be based on ‘the social relationship (acceptance/rejection)’ and ‘the personal relationship (pleasant/ unpleasant).’

글로벌 시대의 문화상호주의 연극 담론 연구 -문화적 보편성과 특수성 논쟁에 대한 해체적 관점-

최재오 ( Jae Oh Choi ) 한국연극학회 2005 한국연극학 Vol.0 No.25

Interculturalism in theatre, especially the relationship between the West and the East, has become a matter of major critical and practical interest since the end of 20th century. There is no doubt that the ever-increasing cultural connections and exchanges through globalization process have intensified the interest in interculturalism in theatre. The aim of this paper does not consist in defining interculturalim but in exploring its discourses, mapping out the various aspects of interculturalism with respect to different cultural perspectives. For this, I view culture as "dynamic space" in the nexus of relations, a concept which can replace the dominant view of culture as an (organically) unified Society. I am concern with the positive views of interculturalim in the sense that these discourses establish an ideal state of mutual respect and reciprocal exchange among diverse cultures. But I cannot ignore the critical arguments suggesting the effects of cultural or political dominance among different nations and cultures. In the absence of equality and mutual exchange, I assert, the concept of an intercultural theatre would merely be the wrapped utopian fantasy of people who have power. Richard Schechner`s concept of "cultures of choice" and Indian scholar Rustom Bharucha`s notion of "collision of cultures" serve as pro and con in the various discourses on intercultural theatre projects. Schechner`s discourse, like Peter Brook`s notion of "culture of links," is based on the idea of an emerging global culture that can be formulated through the intercultural connections and exchanges. On the contrary, Bharucha, like Gautam Dasgupta, concerns the matter of appropriations of other cultures interculturalism can possibly produce. He asserts that interculturalism represents the danger of a ruling culture, unduly appropriating other (or minority`s) cultures and traditions without offering anything in return. Borrowing Arjun Appadurai`s poststructurally informed view on culture, I approach the concept of cultural universality and particularity of the global culture. I argue that Schechner pursues the world monoculture that erases cultural specificity and diversity. And I also criticize that Bharucha`s discourse is based on the cultural fundamentalism. As alternative discourses, I introduce Eugenio Barba`s "theatre anthropology" and Christopher Balme`s "syncretic theatre." Barba`s intercultural experiments for his theatre anthropology are focused on finding the principles of "pre-expressivity." The premise underlying Barba`s explorations of the pre-expressivity is that all human beings are essentially the same on the biological level, not the cultural level. His idea of barter of performance also embraces the possibility of reciprocity among different cultures. Balme`s investigation of syncretic theatre leads us to the crossroads of culture where the dynamics of interactions and exchanges among diverse cultures transpire. As his critical tools, he uses two major terms, "cultural text" and "dominant shift," in order to explain the interactions or movements between different cultural elements in syncretic theatre. Through the dynamics of the interactions in syncretic theatre, according to Balme, there is a substantial shift in the hierarchy that exists between indigenous cultural texts and Western cultural texts. As Balme demonstrates, intercultural theatre can also operate as a decolonizing tactics, which intends to reformulate existing dominations and hierarchies. Through this investigation of various discourses on interculturalism in theatre, I point out that the global culture is not a homogenized monoculture but a culture in which particularity and universality coexist. We live in "global village." In its positive meaning, we are peace-loving citizens and neighbors in a global republic. By the way, its negative side in the contemporary world is that the ever subtle but occasionally violent global domination breaks the illusion of glob

무대 위에 역사 쓰기-핑 총의 《시누와즈리》

최재오 ( Jae Oh Choi ) 중앙대학교 예술문화연구원(구 생활문화산업연구소) 2014 예술문화융합연구 Vol.2 No.-

핑 총(Ping Chong)은 1970년부터 40년이 넘는 기간 동안 비디오 아트, 설치 미술 등과 함께 60작품이 넘는 연극 무대를 창조해오고 있는 미국의 대표적인 실험 연출가이다. 중국계 미국인인 총은 1946년에 캐나다, 토론토에서 출생한 후 미국, 뉴욕의 차이나타운으로 이주하여 그곳에서 중국어로 교육을 받으며 성장하였다. 미술과 영화를 공부하기 위해서 차이나타운을 떠나 새로운 문화를 접하면서 총은 미국 문화와 중국 문화 중 어느 쪽에도 속할 수 없는 자신을 발견하게 된다. 이러한 문화적 충격은 총의 정체성(identification)을 양 문화 사이의 경계에 존재하는 아웃사이더로 인식하게 만든다. “문화들 사이(betweencultures)”에 놓인 총의 정체성은 그의 연극을 위한 주제적 관심에 지대한 영향을 끼친다. 총은 미국의 패권적 문화 구조 안에서 (예술가로서, 이민자로서, 그리고 동성애자로서) 아웃사이더 시각으로 “문화와 타자(culture and the other)”라는 주제에 관심을 쏟으면서 정체성과 차이(identity and difference), 문화적 다양성과 혼성(cultural diversity and hybridity), 문화적 폭력과 전 지구적 조화(cultural violence and global harmony), 문화-역사적 글쓰기와 타자(cultural historical wiring and otherness)에 관한 자신의 관심들을 연극 무대를 통해 구체화한다. 총의 내러티브 텍스트들 중 ‘문화-역사적 글쓰기’에 속하는 《시누와즈리 (1994)》의 무대를 텍스트로 삼아 그의 연극(연출) 세계를 해체주의적 시각으로 연구하는 것이 본 논문의 주제이다. 총의 내러티브 텍스트 구조에 내재하는 역사와 내러톨로지(history and narratology)의 분석을 통해 어떻게 신화적 내러티브들이 그의 공연에서 비판적으로 해체되는지를 조사한다. 총은 사람들, 문화들, 그리고 역사들에 관한 그의 (대항적{counter}) 신화 만들기에서 무엇이 이야기되는가라는 주제에 관한 연구를 한다. 총이 어떻게 “타자”라는 개념을 그의 해체적 신화 만들기에서 지역적 또는 국가적 그리고 글로벌 시각으로 다양하게 접근하여 이야기를 고안하는지를 연구, 분석한다. 자아와 타자 사이의 경계를 견고하게 하는 패권적 내러티브의 권위를 약화시키고, 주변부의 다양한 목소리들이 살아나게 하고, 패권적 역사와 문화의 모놀로그의 중단을 시도하는 총의 (대항적) 신화 만들기를 공연 방법으로 분석하며 논쟁한다. 이러한 총의 (대항적) 내러티브들의 주제적 키워드인 목소리 내기는 그것이 함유하는 타자에 대한 존중, 평등, 정의라는 정치적 언어들에 있어 완전한 의미의 “말하기와 듣기”에 기초한 민주주의의 수행으로서의 공연이라는 가능성을 모색한다.

다문화주의와 미국연극 정체성의 무대화 -정체성의 무대화-

최재오 ( Jae Oh Choi ) 영미문학연구회 2007 안과 밖 Vol.0 No.23

논문 : 진화심리학적 관점으로 본《느릅나무 밑의 욕망》의 애비와 에벤 인물분석

최재오 ( Jae Oh Choi ),박주영 ( Ju Young Park ) 한국연극교육학회 2014 연극교육연구 Vol.25 No.-

This research tries to directly investigate the characters, Abbie and Eben, of《Desire under the Elms》based on the lines and instructions of the text from the Evolutionary Psychological perspectives. Evolutionary psychology is a science studying human nature, which explains general human behaviors with an ‘evolved psychological mechanism’ and scrutinizes the ultimate motive of the behavior. Using the explanations of Evolutionary Psychology, I tries to find out the two characters’ instinctive desire, survival, and breeding which are the evolved psychological mechanism through the way of ‘consilience,’ between Evolutionary Psychology and theatre. First of all, I explain what the Evolutionary Psychology is, showing how Evolutionary Psychological perspectives evaluate the art and proving the values of consilience between them. Based on the theoretical perspectives, I studies Abbie and Eben in《Desire under the Elms》, classifying the lines and behaviors of characters with the ‘evolved psychological mechanism.’ First, I analyze Abbie’s desire of the survival and breeding in terms of the residence, preference for spouse and maternal instinct, And then, I investigate Eben’s desire in the cases of the obsession for at maternal instinct, possessiveness, revenge, aggression, and preference for spouse. In this way, I verifies that the two characters are very instinctive, who behave with purposes of survival and breeding. And, by studying Abbie and Eben’s love under the conditions of economic and emotional commitment, I explain how the two characters transcend their instinct and find the value of love which is the theme of the text.

대학 연극교육을 위한 모듈교과 운영방법 및 효과 연구

최재오 ( Choi Jae-oh ),김현지 ( Kim Hyun-jee ) 한국연극교육학회 2018 연극교육연구 Vol.32 No.-

After graduation, theater department students have many difficulties to get and keep their job because a ratio of freelancer is high and sustainability of the job is low due to the nature of the job in art field. Also, it is hard to for the student adapt to work sites that are different from education environment in the university. To make up for these problems and provide better university education, theater departments of each university have made various efforts. Chung Ang University test operates the modular curriculum which is a kind of a characterization business for enhance the theater education with the headquarters. The biggest reason why Chung Ang University run the modular curriculum is that it would make students advance into society with the work made in the university curriculum easier. However, existing curriculums tend to be impossible to be so. The thesis figures out problems through previous curriculum analysis of Chung Ang University and researches current changes of curriculum by the characterization business and effects of modular curriculum operation. Problems are found in the previous curriculum. It has tough environment for students individually to strength major capability and low education efficiency of subject selection system that depends on advance to next grade. A gap between education and actual work is also another problem that caused education course was different from actual performing arts management of work site. Other problems on class operation and decline in quality because of overlapped participation in performance production which brings decrease in concentration. The thesis suggest modular curriculum to solve problems. Modular curriculum is a new curriculum model which introduces the focused course-taking system in order to gradually try program the subject that is modularized individual practical capability. Selection of specific major track for student’s career is possible. Especially, it could be introduced for second and third year students who need intensive training. For fourth grader, entry of work which is higher degree of completion is supported by opening an incubating class. The course maximize student’s individual performance capability and help them enter into society successfully by reduce a gap between education and actual site. Eventually, as modular curriculum is introduced, student’s individual performance capability could be maximize and major enrichment could be possible. It is expected effects such as reduction a gap between education and practical site as well. These results of study imply that modular curriculum should be introduced in an active way as a solution to develop theater education.

Aesthetics of Masked Acting in Japanese Noh and Greek Tragedy

Choi, Jae-Oh(최재오) 한국동서비교문학학회 2006 동서 비교문학저널 Vol.0 No.14

RFID를 이용한 RCP 자율 네비게이션 시스템 구현을 위한 연구

최재일(Jae-il Choe),최정욱(Jung-Wook Choi),오동익(Dong-ik Oh),김승우(Seung-Woo Kim) 제어로봇시스템학회 2006 제어·로봇·시스템학회 논문지 Vol.12 No.5

Ambiguous Stage : Beckett's Scenography

Choi Jae-Oh(최재오) 한국현대영미드라마학회 2006 현대영미드라마 Vol.19 No.1