마이크로 버블 시스템을 위한 오존 발생기 특성 분석

최정용(Jeong-Young Choi),김은주(Eun-Joo Kim),김도근(Do-Keun Kim),강성윤(Sung-Yoon Kang),김준형(Jun-Hyoung Kim),안성민(Sung-Min Ahn),엄성훈(Seong-Hoon Eom),최치림(Chi-Rim Choi),이승준(Seung-Jun Lee),김근수(Gun-Su Kim) 대한전자공학회 2016 대한전자공학회 학술대회 Vol.2016 No.6

유진 오닐의 「사생아를 위한 달(A Moon for the Misbegotten)」 의 공연사 연구 : 콜럼버스에서 브로드웨이까지의 십년

최치림 한국연극학회 1999 한국연극학 Vol.13 No.1

Eugene O'Neill's 「A Moon for the Misbegotten」is a play of firsts and lasts. It were O'Neill's last finished play, completed before he started to suffer seriously from the illness that would force him to give up his writing. It was also the last of his plays in which the character Jaime Tyrone-named Jim here-, modeled after his real life brother, appears. But,「A Moon for the Misbegotten」was O'Neill's first play to be published before arriving for production on Broadway. And, although it did not open on Broadway until 1957, after 「The lceman Cometh」 and 「Long Day's Journey Into Night」, it was the first O'Neill's play that his widow, Carlotta, authorized for production after his death. In this way, 「A Moon for the Misbegotten」indirectly opened up the gates for the renewed interest in O'Neill and his work during the 1950s that would place him, once again, as America's foremost playwright. The seed for this play is formed in the first act of 「Long Day's Journey Into Night」 as O'Neill wrote in his Work Diary, telling-except here Jaime principal character and story of play otherwise imaginary, except for J(aime's) revelation of self. For this reason, the first title he gave it was 「The Man of Other Days」. But as he continued to develop his ideas and the fictional character of Josie grew to take on new dimensions, O'Neill changed the title to 「A Moon Bore Twins」, indicating a similarity between Jim and Josie. The next day, however, having decided that Jim and Josie could not stay together and should part, O'Neill again changed the title. This time he called it 「A Moon of the Misbegotten」. And finally, on November 12, thinking it more appropriate, O'Neill assigned it its present title, 「A Moon for the Misbegotten」. There would be numerous productions of 「A Moon for the Misbegotten」 all over the States. However, it will look at only six productions of the most noteworthy productions performed in six cities; Columbus, Cleveland, Detroit, Pittsburgh, St. Louis and New York. Five productions in Columbus, Cleveland, Detroit, Pittsburgh, St. Louis were planned for tour performance, directed by Lawrence Langer in 1947. One production in New York City was directed by Carmen Capalbo in 1957. This successive overview of six performances intends to suggest distinctions in the production values of each of six performances. How did each performance apply itself to each different theatrical conditions or environments including stage and audience? What theatrical elements were changed, borrowed, or disregarded? In what ways did the directors, actors, and other staff members stylized their performances, making each performance of the play unique? And what was the responses of the critics and audiences to each performance? This study would help the reader more deeply realize the play 「A Moon for the Misbegotten」, as well the essences of performance through comparison of each different performance. It would also help the reader understand that how a play like 「A Moon for the Misbegotten」 is performed in different ways in different theatrical conditions including time, space, aesthetics, philosophy, and stage technology.

유진 오닐의 「느릅나무 밑의 욕망(Desire Under the Elms)」 의 공연사 연구 : 로버트 에드몬드 죤즈 , 알랙산드 타이로프 , 헤롤드 클러만 , 호세 퀸테로의 공연을 중심으로

최치림 한국연극학회 1999 한국연극학 Vol.12 No.1

The Provincetown players, under the direction of Robert Edmond Jones, first presented Eugene O'Neill's 「Desire Under the Elms」at the Greenwich Village Theater on November 11, 1924. Since then, there have been innumerable productions of the play across the country and around the world. The Play has been presented at the Kamerny Theater in Moscow (1926) ; the Westminster Theater in London (1939) ; the ANTA Playhouse in New York (1952) ; Washington's Arena Stage(n.d.) ; Chicago's Kenneth Sawyer Goodman Memorial Theater in Chapel Hill, North Carolina (1956) ; The Cleveland Playhouse (1956) ; University of Virginia's Minor Hall Auditorium in Charlottsville (n.d.) ; Studio M. Playhouse in Coral Gables, Florida (1958) ; Circle in the Square Theater in New York (1963) ; The Theater for Living Arts in Philadelphia (1965) ; The American Center for Stanislawski Theater Art in New York (1972) ; Theatro La Cabana in Lima, Peru(n.d.) ; The Studio Arena Theatre in Buffalo, New York (1974) ; the American Conservatory Theater in San Francisco (1975) ; and the Asolo State Theater in Sarasota, Florida (1977). This partial list undoubtedly misses many other professional, semi-professional, and amateur production of this play. This production history will not attempt to examine the theatrical styles of all the above mentioned productions. Rather, it will look at only four of the most noteworthy productions : Robert Edmond Jones's production at the Greenwich Village Theater in 1924 ; Alexander Tairov's Moscow Production as performed in Paris in 1930 ; Harold Clurman's production at the Circle in the Square Theater in 1963. The three American Productions were selected because they suggest a historical evolution on the New York stage away from naturalism in the 1920's to radical realism in the 1960's. The Russian version was selected for discussion not only because it was an experimental production of the play, but because O'Neill saw it five years after he premiered the play in New York ; and he liked it even though it was stylistically different from the Jones production. Hence, this historical overview intends to suggest distinctions in the production values of each of the four directors. How did each director use the theatrical elements like sets, lights, costumes, and makeup to create his version of the drama? What elements were changed, borrowed, or disregarded? In what ways did companies of actors stylize their performances, making each version of the play unique? Jones may have emphasized the melodramatic aspects of the drama because the American stage was still heavily influenced by the American popular melodrama. Tairov's production, by contrast, may have treated the drama as a case study for certain political reasons. Clurman's production may have only toned down some melodramatic aspects, creating a handsome, slightly old-fashioned, less forceful production as the critics suggest. Quintero's radical production may have come closest to 「Desire under the Elms」as a modern tragedy, owing to contemporary literary influences as varied as Miller's Death of a Salesman, Artaud's Theatre and Its Double, and the writing of Jean Paul Sartre. Each production became a product of its own times. This thesis would help the reader more deeply understand the play, 「Desire Under the Elms」, as well as essence of performance through comparison of each different production. It would also help the reader realize that how a play, 「Desire Under the Elms」, is understood in different ways in different times, spaces and cultures according to different aesthetics, philosophy, and stage technology.

환경연극(Environmental Theater)의 공간에 관한 연구 : 빵과 인형극단, 스넥익 씨어터, 퍼포먼스 그룹의 작품들을 중심으로

최치림 中央大學校 韓國藝術硏究所 1995 中央大學校 藝術大學 創論 Vol.14 No.-

우스터그룹(The Wooster Group)에 대한 연구 : 1960년대 이후의 실험극 연구와 관련해서 In Relation to the Study of the Experimental Theater Since the 1960's

최치림 중앙대학교 예술연구소 1991 中央大學校 藝術大學 創論 Vol.10 No.-

One of the most important characteristics of the experimental theater since the 1960's is to separate the theater itself from literature. Experimental theater artists believed that the literary based-conventional theater has made intensity of theater weakened since the period of Greek because it too much depended upon dialogues and lost its nature of performance. Therefore, in experimental theater, the function of a written script (or play) became weakened and the concerns of the other theatrical elements, including sound, movement, space, light and even audience. came to be taken greatly. Many experimental theater artists, for this reason, have greatly paid their attention to ancient ritual, folk performance. circus, magic, games and modem science so that they could learn performance theory and techniques. They made new definitions of playwright, director and actor, and expanded, the conception of theater space by getting rid of proscenium arches to accomplish a new relationship between performer and spectator. The traditional method of creating a theater piece, thus, came to be changed. Among groups of experimental theater since the 1960's, the Wooster Group is unique for its combination of aesthetic and political radicalism with intellectual rigor. From the beginning, the Group's work his been provocative and controversial because of its way of making a theater piece : it has refused to use any written play in a traditional way and emploied 'collective method' by which its performers creat theatrical scenes through 'free association.' The performers brought into the theater material usually considered inappropriate, tasteless or illicit not for sensational ends, but to explore and challenge mddle-class culture, to question its assumptions and i-node of operation and to reveal that which it has systematically suppressed. The Group has consistently addressed pressing social issue, including the victimization of women, racism and multifarious process of dehmanization and made the New York theater a vital arena in which social political and cultural issues are debated. The purpose of this paper is to explore what the Wooster Group has tried to create in relation to the phenomena of experimental theater since the 1960's. In the first section, my definition of experimental theater since the 1960's is given : the experimental theater is the theater that dosen't depend upon the playwright. In the second section, the background of the foundation of the Wooster Group is explored, including the relationship of Elizabeth LeCompte and Spalding Gray to Richard Schechner who influenced them. In the third section, the theory and practice of the Group's performance are discussed, including the conceptions of 'self as content' and 'documentary theater' that make the Group's work unique. In the fourth section, this paper finally concludes with the statement of what the Group's meaning is in the history of world theater and especially experimental theater since the 1960's.

스크왓트 극단(Squat Theater) : 1960년 이후의 실험극 연구와 관련해서 In Relation to the Study of the Experimental Theater since 1960

최치림 중앙대학교 예술연구소 1990 中央大學校 藝術大學 創論 Vol.9 No.-

A common characteristic of the experimental theater of the world since 1960 is to relieve the theater itself from the subordination of literature and recover its own original function which is closely connected with human life. Accordingly, a lot of change in conventional theater was tried by experimental theater artists : they gave new definitions of director and playwriter and changed the rehearsal process and acting skill as well as got rid of proscenium arches, expanded theater space and accomplished a new relationship between performer and audience. They have also used their theatrical elements not only from ancient rituals, folk performances and Happenings but also from dances, music, circus, sports and even modern science, and created their own unique theater styles through collaborative creation. Thus, now the major common categories of experimental theater can be usually spoken of as the theater of ritual visual, environmental, imaginative and non-literal, and these interact on each other. Among them, Squat Theater Group expatriated from Hungary and permanently settled down in New York in 1977, is not exceptional. They, who began the group in Budapest in 1969, have tried to find their own theatrical language and created their own unique theater style. The purpose of this thesis is to study about what the Squat Theater has tried to do in terms of the phenomena of experimental theater since 1960. What they do for the performance is to collect the materials and reconstruct them in a given -space and transfer them into their own specific visual theatrical language or image. Thus, centering around theater pieces played at "The Apartment Theater" in budapest and "The Storefront Theater" in New York, many theatrical ideas and techniques of the group are discussed in this thesis, including their way of living in a group, the conception of the juxtaposition of art and life, and self as content. The reason why I limit their works to those played at "The Apartment Theater" and "The Storefront Theater" is that their works created in these period were said to be most revolutionary and experimental in relation to the purpose of this thesis.

연극에 있어서 공동창조(Collective Creation)의 본질에 대한 연구

최치림 中央大學校 韓國藝術硏究所 1996 中央大學校 藝術大學 創論 Vol.15 No.-

The collective creation method in the theater since 1960 was due to the alternative culture that was made after World War Ⅱ. Throughout the war, people all over the world came to realize the nature of the science that had brought about the nightmarish conflict. Since the Industrial Revolution, they had believed that science would provide them with happiness and prosperity. However, during the fighting of World Wars Ⅰ and Ⅱ, weapons of mass destruction were used, including the atomic bombs which were dropped on Japan. In the early 1960's the United States became involved in the Vietnam War and, as a result, anti-war demonstrations of college students and civilians erupted. In addition, whereas the astronaut Louis Armstrong landed on the moon for the first time in the history of mankind, President John F. Kennedy, his brother, Senator Robert Kennedy, and the minister Martin Luther King Junior were shot to death. The 1960's was thus recorded as the time period during which the conflicting emotions of joy and sorrow existed side by side for the American people. In this environment, certain social and political issues appeared in the public eye. These dealt with such topics as hostility towards nuclear weapons, race, homelessness, hippies, homosexuality, the environment, and feminism. People came to distrust science and modern civilization which, in their eyes, had given rise to the social and political issues mentioned above. Accordingly, an alternative culture to the already established one was demanded, and the direction of the alternative culture was naturally forwarded to primitivism, found in preindustrial society. In such a society, as we know, there existed a communal life which we lost in modern society. The collective creation thus comes to be created as a method of new theater and tries to follow the essence of the communal life in which many kinds of plays and rituals were created. Unlike the traditional Western theater, plays and rituals in preindustrial society were made by all members of the group: there was no distinction among playwright, director, actors, and the other staff members. They all had equal right, responsibilities, and duties in relation to their function as collective creators. As seen in plays and rituals, the situation of no distinction among member of a group was a characteristic of the culture in preindustrial society. Victor Turner calls it "Iiminality," in which one is not differentiated from others, having no personal choice, except for only duty and responsibility to the group. There is also in the liminal state nothing certain, stable, determinate:everything is in progress. Therefore, Turner states that the liminal state is creative becasuse of its transformative nature. The liminality, Turner says, is different from liminoid, in which one has no duty and responsibility, except for choice. The liminoid characterizes the phenomenon of modern culture, and it seen in modern sports and in arts such as theater, dance, music concerts, sports, etc. In relation to the liminal state, Arnold van Gennep suggests three phases of rites of passage, that is, separation, transition, and integration. According to van Gennep, whenever there is a crisis after which follow seasonal changes or passages of life, certain kinds of rites are performed to ease the crisis. Victor Turner also suggests four phases of social drama, that is, breach, crisis, redressive actions, and reintegration. The social drama, Turner defines, is a kind of social event, like wars, political demonstrations, floods, and droughts, including great discoveries and inventions. During the social drama, any established systems or orders are demolished following the four phases of the social drama and create "anti-structure." The social drama, according to Turner, interacts with the stage drama as a feedback system. Colin Turnbull states that there are two major concerns of all human societies, that is, conflict and aggression. According to him, one of the prime functions of all kinds of political, social, and cultural institutions is to provide the means of resolving conflict when it occurs or of avoiding it altogether. The means then are usually expressed in aggressions, that is, dramatic actions. The theory of the liminal state that characterizes the avove mentioned three models and is applied to that of the workshop method, created in the U.S. in the 1950's for avant-garde performance exercise: some people in a small group gathered and experimented with a new way of creating a theater piece. This workshop method was applied by some experimental theater artists in the 1960's who tried to create a new theater piece by some collective creation method. In the workshop situation, as seen in plays and rituals, the conceptions of fixation and censorship are refused, and spontaneity, improvisation, and autotelic experience and demanded. Accordingly, the collective creation, following the theory of workshop, is open to continuous modification: because of refusing the conception of "fixation", a performance, although it is already open to the public, is continuously changed by the responses of audiences or critics or of the participating group members who think any changes in relation to the works are needed. There are no any fixed methods of collective creation. According to theater group or any themes which a group wants to deal, the method of collective creation would be different. Nowadays, one can find many kinds of theater pieces that are created by more or less modified collective creation methods. These phenomena can be called proof that the collective creation method itself refuses to be fixed and intends to be modified so that it could remain alive in the form of a new theater.

공연과 텍스트의 관계에 나타난 연구

최치림 한국연극학회 2000 한국연극학 Vol.15 No.1

The history of performance, in a sense, can be observed in its relationship to text. This is because one can not conceive of any performance without a text, weather the text is written or not. Text could be either a basic idea of a performance or, in a sense, all of it. From an etymological point of view, the meaning of texture, which derived the word, text, can be defined as (1) the degree of roughness or smoothness, coarsness or fineness, of a surface, especially as felt by touch, (2) the way in which the threads of a cloth have been woven, especially as regards roughness or smoothness. Accordingly, one can state that the basic conception of text is a compound of all the theatrical elements that constitute a performance as threads do for a cloth. A written text, according to Richard Schechner, from a viewpoint of performance history, appeared after the invention of the letter. Previously, the ways of transmission of the performance arts were done by transmitters from 'doing' to 'doing' or from 'person' to 'person'. Yet, the development of the letter eventually led to its replacement of the doing-ways of transmission. To put it another way, the ways of menifestation performed by 'doing' were changed for those of communication by 'the letter', and from then on, the written text become the most important theatrical element, and respected as sacredly as Christians do the Bible. That is, it can be stated that the period of text-centered arose. Yet, with regards to the Universal truth that everything changes, including phylosophy, aesthetics, stage technology, the conception of the text was no exception. Accordingly, the conception of the relationship between performance and text, among performance artists, came to be changed. The belief that the written text must be respected and correctly realized on the stage was destroyed and instead, the other beliefs espousing reinterpretation and readapting of the text were raised. These kinds of text centered-ideas were sustained until the end of Modernism. After World War 2, which led to widespread suspicion of the belief of science, with the opening of Postmodernism, the disbelief of language was created. This stemmed from people's association of the logic and reason of language as symbolic of science. For this reason, the conception of off-text-centered was raised: as Richard Schechner asserts in his six axioms of Environmental Theater, "the text need be neither the starting point nor the goal of a production. There may be no text at all." Derrida also, through his deconstruction theory, insists that the languages are not fixed referents because they are bound with slippery chains and unstable. Therefore, he continues to assert that it is impossible for us correctly interprets the text: the text is read differently according to the 'difference' of social context. The text is, for this reason, considered to be disbelieved and used just for theatrical materials as the other theatrical materials do for a performance. This thesis is written to study the above mentioned relationship between performance and text, following the evolutional process of the relationship such as respectively, (1) realization of the text, (2) reinterpretation, (3) adaptation, (4) decontruction and reconstruction, and (5) without text.