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박근형 연극에 나타난 가족 이데올로기에 대한 비판적 인식
김숙경 ( Suk Kyung Kim ) 한국연극학회 2012 한국연극학 Vol.1 No.48
Geun Hyung Park is one of the playwrights who consistently pursues his unique world of play. One of the characteristics that is constantly discovered in Park`s plays is the motif of ``family.`` park chooses family as the motif in most of his work. Park particularly emphasizes ``family life`` rather than ``individual life`` to focus on the internal problems of families. Therefore, the motif of family in Park`s plays takes a very important position in the content and theme. The Korean society imposes unique value on families and possesses a strictly obstinate family ideology. Park observes distorted family relations or individuals who cannot be happy within their families to identify the problems related to the family ideology that is deeply rooted in the Korean society. This is one of the important backgrounds for which Park is constantly dealing with ``family life.`` This study selected five of Park`s most famous plays to specifically examine Park`s critical understanding of family ideology. First, his <Gyee> criticizes extreme family egoism by depicting a family that cannibalizes people to keep the family full. Park chooses ``absurd time and space`` and the extreme subject of ``human flesh`` to warn his audiences about the awful consequences of family egoism. His <DaeDaeSonSon>, which is the only piece that deals with family history among the five pieces selected, criticizes Korea`s unique family-centered ideology by humorously depicting the history of the Cho family that is all about maintaining and worshipping the its clan. He reveals the unethical and hypocritical attitudes of the Cho family for the audiences to reconsider the family-centered ideology of the Korean society. In <ChungChunYaeChan>, he talks about the son and the father who lose his ethical authority and fail to perform his paternal responsibilities to criticize the traditional family ideology of patriarchism and suggests the pessimistic future of patriarchism. <GyeongSook GyeongSook ABuGee> contrasts a blood-related family with an irresponsible father and a quasi-family to criticize the identity of blood-related families. In <NueMu NolRaGee MaRa>, Park depicts a ``smelly house`` of a family in agonizing relations to deny the family myth and the maternal myth. He clearly shows how the ideals of family myth and maternal myth are distant from the reality. In result of this study, Park`s criticism of family ideology appears in various forms. He comprehensively criticizes both the general family problems and the unique family issues of Korea. The family ideology of Korea is currently undergoing a radical change. It has been long since the traditional family ideologies have exposed problems to show the signs of crisis. Also, there have emerged various forms of families, including single-parent families, one-person families, adoption families, and multi-cultural families. In this respect, Park`s critical understanding of family ideologies allows you to see the obvious family forms from a new perspective and greatly contributes to awakening the essential questions about families. Park`s work is noticeable among the various artistic and literature pieces that deal with family issues because of his extraordinary skills to capture the key issues inherent in the problems of family ideologies.
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<1동 28번지, 차숙이네>의 사물연극으로서의 전략과 실험성
김숙경 ( Suk Kyung Kim ) 한국연극학회 2012 한국연극학 Vol.1 No.46
The work of Choi, Jin-ah, <1Dong 28Bunji, Chasuk`s> pursues theater which is focusing on objects. This is totally different from traditional theater custom which focuses on human conflict and solution. Choi is basically interested in new methods of communication with audience and this interest is reflected in <1Dong 28Bunji, Chasuk`s>. This study has examined strategies as object theater and experimentation of this theater. <1Dong 28Bunji, Chasuk`s> obviously has a meaningful effect on today`s Korean theater in that it extends the concept of theater. Regarding narratives, this theater achieved characteristic of object theater through ``foregrounding of objects`` and ``backgrounding of human``. Specifically concerning it, this theater focuses on a house and minimizes human conflict and episodes and refrains from a closing-plot. This multilateral strategy consistently exposes house to the front. That is to say, a person as a subject moves backward and a house as an object moves forward. This theater provides various discourse about a house. This is realized through various approaches. First, a house is actually built on the stage and the materiality of house becomes discourse through the method of ``existence`` and ``experience``. The audience witnesses the procedure of building a house and experiences the materiality of house. Second, with the method of narrator, it approaches the historicity of the house. Explanation intervenes between representational stories and the technique of explanation seems to be objective narration. The explanation mainly consists of the knowledge related to history of house such as the change of house materials, the history of construction tools, the history of house appearance and the change of internal house structure. Third, it approaches the spirituality of house through the human story. The spirituality of house such as the relation between a house and a person and the meaning of house is approached through Chasuk`s old house, the memory of father and family conflict surrounding the new house. Through the various approaches and discourse of house, Choi intends that <1Dong 28Bunji, Chasuk`s> becomes theater for knowledge and recognition. Audience newly discovers and recognizes a house familiar with us through the work. In addition, new discovering and recognizing of a house leads to the rediscovery and recognition of the relation between a house and a person, and this extends to new discovering and recognizing of human. <1Dong 28Bunji, Chasuk`s> represents one example of meaningful experimentation of subject, reception aesthetics and styles of theater and this is a significant meaning of this theater. The experimentation of this theater is not exceptional and radical. However, this theater has particularity in that it raises the essential question-what theater is and actualizes new theater method on the stage in the traditional theater category.
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사회적기업의 DEA를 통한 경영효율성 평가 - 대전·충남·세종 지역을 중심으로 -
김숙경 ( Kim Suk-kyung ),강태식 ( Kang Tae-sheck ),최순주 ( Choi Soon-ju ) 한국지역사회발전학회(구 한국지역사회개발학회) 2017 地域社會開發硏究 Vol.42 No.2
The purpose of this paper is to measure and analyze efficiency of social enterprise using DEA(Data Envelopment Analysis) models. This study was evaluate the CCR and BCC efficiency in DEA models and the return to scale of the social enterprise. The benchmarking social enterprise and efficiency value for the social enterprise with inefficiency are also provided to improve their efficiency. This study was analyzed the "Social Enterprise Management Notice" of 24 social enterprises in Daejeon, Chungnam and Sejong areas of Korea Social Enterprise Promotion Agency in 2016. The analysis results show seven Social Enterprise whose values of CCR are 1, and fourteen Social Enterprise whose values of BCC efficiency are 1. In additions, the seven Social Enterprise have the scalability efficiency. Eventually the efficiency analysis can provide the valuable information for inefficient areas to find benchmarking areas and to improve their efficiency.
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김숙경 ( Suk Kyung Kim ) 한국연극학회 2006 한국연극학 Vol.0 No.28
Shinpa-geuk(新派劇) were introduced from Japan in the 1910`s. Shin-geuk(新劇) which follows the example model of the western modern drama were introduced by way of Japan from the West in the 1920`s. The both drama had an influence each other from 1920`s to 1940`s. The aim of this study is to research relationship between Shinpa-geuk and Shin-geuk especially at the turning point from traditional drama to modern drama. The texts for Shinpa-geuk are 「Guiwusung」 and 「Nunmul」, and the texts for Shin-geuk are ≪Kyuhan≫, ≪Unmyung≫ and ≪Kim Young Il`s death≫. In the aspect of plot, Shinpa-geuk has common features-casualism, a jump of logic and happy ending. They are also the typical elements of melodrama`s plot. The three Shin-geuk dramas also show casualism and a jump of logic, although the modern drama, as a general rule, keeps to the principles of causality and reality of plot. The characters of Shinpa-geuk are usually divided into good and evil. There are many stock-characters and painful women in Shinpa-geuk. The early Shin-geuk`s work, ≪Kyuhan≫ and ≪Unmyung≫ have similar points to Shinpa-geuk`s characters. In the case of ≪Kim Young Il`s death≫, it doesn`t have stock-characters and painful women. However, the work still doesn`t realize the idea of the modern drama from the viewpoint of that the characters aren`t perfectly full of life. In the three Shin-geuk works, the sprit of the times creates the trouble among the characters. On the contrary, old customs raise the trouble in the Shinpa-geuk. The point is a very important distinction between Shinpa-geuk and Shin-geuk. In the aspect of the lines, Shinpa-geuk and Shin-geuk make progress in commanding spoken language as compared with traditional drama. However the lines of both drama are sentimental and exaggerated. The subjects and meanings which characters want to express are revealed directly and in a recitative tone. There are too many monologues and the lines which are too long for one person to speak at a time. We know that Shinpa-geuk is connected with popularity and Shin-geuk is related to modernity, but, in fact, popularity and modernity are combinated in both drama at the turning point from traditional drama to modern drama. Shinpa-geuk has also the sprit of the times and enlightenment like modern drama, but popularity overwhelms modernity. Shin-geuk clearly pursues modernity, however, there are many cases that modernity become rather indistinct due to stock character and painful women, casualism and a jump of logic, andsentimental lines. In conclusion, Shin-geuk came under the influence of Shinpa-geuk at the turning point from traditional drama to modern drama, for Shinpa-geuk already was formated and had strong effect on Korean drama at that time and Shin-geuk still entered on the first stage.
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《보이체크》의 한국 공연사 연구 - 구성의 변형과 연극언어의 활용을 중심으로 -
김숙경 ( Suk Kyung Kim ) 한국연극학회 2005 한국연극학 Vol.0 No.26
《Woyzeck》 was written by Georg Buchner in 1836. 《Woyzeck》 is one of the classic repertories and has performed in different languages and with different directing in the world. The aim of this study is to research the performance history of 《Woyzeck》 in Korea in the view point of the change of plot and applying theatrical languages of each performance. I analyzed the 《Woyzeck》as original text before considering performance texts. 《Woyzeck》 was performed in 1975 for the first time in Korea. I selected Dongrang Repertory Theater Group`s performance(1975), Hyundai Theater Group`s performance(1989), Expression and Imagination Theater Group`s performance(1998), Sadari Movement Laboratory`s performance(2001) and Seoul Arts Center`s performance(2003) since 1975. In Dongrang Repertory Theater Group`s performance, the first Korean performance 《Woyzeck》, the director kept original plot`s characteristics except some scenes like the last scene. Acting and Lighting were the most significant elements in the performance. In Hyundai Theater Group`s performance, the director focused on the relation of cause and effect among the scenes. However a reviewer mentioned that such a plot was not proper for 《Woyzeck》. The original plot was changed as a whole in the performance of Expression and Imagination Theater Group, so space, time and character of theater were also changed. The director focused on visual text rather than verbal text in the work. This performance was the most experimental among five ones. In the Sadari Movement Laboratory`s performance, original scenes were rearranged by the director. This group is based on actor`s movement, mime, mask, and object. 《Woyzeck》 also showed the group`s idea. In other words, actor`s movement and chairs were the most important theatrical languages in the work. Seoul Arts Center`s 《Woyzeck》 was performed by a Russian director and Korean actors. In the work, the plot was rearranged like Sadari Movement Laboratory`s performance. The director devoted to express visual and auditory theatrical languages. The performance was evaluated the successful visual text.
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한국 상담사의 이마고부부치료 적용 경험에 관한 합의적 질적 연구
김숙경(Suk Kyung Kim),정혜은(Hae Eun Jeong),김신영(Sin Young Kim),이주안(Ju An Lee),이지영(Ji Young Lee),정은영(Eun Young Jeong),하영윤(Young Yoon Ha) 한국부부가족상담연구학회 2022 부부가족상담연구 Vol.3 No.2
본 연구는 한국 상담 현장에서 이마고부부치료를 부부상담에 적용하고 있는 상담사들의 경험을 이해하기 위한 목적으로 수행되었다. 국제공인 이마고부부치료 전문가 과정을 이수하고, 현장에서 이를 활용한 상담 활동을 지속적으로 하고있는 상담사 12명을 연구 참여자로 선정하고, 합의적 질적 연구(CQR)방법에 따라 자료를 수집 및 분석하였다. 분석 결과, ‘이마고부부치료 상담사로서 시작 과정’, ‘이마고부부치료 상담사로서의 역할 경험’, ‘현장에서 중요하게 사용되는 이마고부부치료의 개념과 기법’, ‘한국 내담자에 대한 이마고부부치료의 유용성’, ‘한국 내담자에게 적용이 어려운 경험’, ‘이마고부부치료 상담사로서의 활동이 개인 삶에 미친 영향’, ‘이마고부부치료 상담사로서 성장을 위한 필요’ 등 7개 영역을 도출하였다. 또한 영역에 따라 범주들과 의미를 구조화하였다. 연구 결과를 바탕으로 이마고부부치료가 외연적 확장을 이루고 있는 현 상황에서 이마고부부치료 이론과 기법이 한국 상담 장면에서 어떻게 적용되고 정착되는지에 대한 이해를 돕기 위한 논의를 진행하였다. 또한 이마고부부치료의 적용 가능성에 대한 이해를 확대함으로써 한국 문화와 시대에 맞는 보다 효과적인 치료법으로 이마고부부치료를 정립하는 데 시사점을 제시하였다. This study was conducted to understand the experience of counselors applying Imago Couple Relationship Therapy (IRT) at the Korean counseling field. Twelve counselors who completed the Imago Couple Relationship Therapy Specialist Course and applied IRT in the field were selected as research participants, and data were collected and analyzed through a Consensual Qualitative Research (CQR) method. As a result of the analysis, seven domains were derived: Starting process as an IRT Counselor; Role experience of IRT counselor; Concepts and Techniques of IRT Used Importantly in the Field; The Usefulness of IRT for Korean Clients; Experience that is difficult to apply to Korean clients; The effect of the IRT counselor's activities on their own’s lives; Requirements for further growth as IRT counselor. Also, categories and meanings were structured according to these domains. Based on these findings, implications for counseling and study limitations were discussed.
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