네트워크 DBMS에 의한 E-A 데이타모델의 Implementation

백의선,유택박,Baek, Ui-Seon,Yu, Taek-Park 한국전자통신연구원 1983 전자통신 Vol.5 No.4

민․군 겸용 정보보호기술의 발전전략

백의선 한국정보과학회 2008 정보과학회지 Vol.26 No.5

Bellet基本 動作 中 Arabesque에 關한 硏究 : Barre Work를 中心으로 With emphasis on Barre Work

白義善 圓光大學校 1984 論文集 Vol.18 No.2

The basic 5 ballet leg position developed by Beauchamp in the 16th Centry is the creation of dynamic, limitless movements based on 2 elements of pant mimic and dancing technical expression. The Barre work, a fundamental of ballet, has been spiritual aspiration for those ballerina who made every possible effort to build up their bodies for the dynamic and beautiful performance of ballet, which is also a fundamental for the training of dancers in modern ballet Companies. The arabesque in ballet, the most lengthy and elegant fundamental movement, is expressed much more exquisitely than any other ballet works, Thus scientific method of training should be closely studied for the highest reach of artistic expression of arabesque movement in ballet works. The purpose of this thesis is to study and analize training method and techniques of arabesque movements in connection with Port de bras for arm movement and 8 basic barre Work. 1. Plie is the movement for turn-out of both legs, and improve the strength and flexibility of Achiles' tendom and at the same time develop femoral muscle and thin. The most ideal bending and stretching time shall be 8 seconds for grand-pile and 4 to 2 seconds for demi-plie respectively. 2. Bettement tenues, battement foundu developpe, releve, and echappe not only enable turn-out at pointe of foot but also play a role of keeping balance of arabesque movement. 3. In arabesque movement, hand movement of Port de Bras should be kept at an avant. 4. For the stable arabesque movement, perfect balance shall be made when belly is pulled back, holding thigh of lifted leg, with the poise of hanging shoulder.

공연미학적 측면에서 본 Giselle 작품 연구

백의선 대한무용학회 1988 대한무용학회논문집 Vol.10 No.-

From the very beginning Giselle had enough qualities to be remembered by her work of being overwhelmed with grief as long-living superior masterpiece. This work, a prxluct of Romantic art ruling the then Europe, had all good requisites of Romantic ballet generally terming the Romantic era. The work of Giselle had been got the plan and was staged for the first time June 28, 1841 by Gautier, an ensigner of the Romantic Movement. After that this work was staged in many a country by many ballet companies and until the present through the twentieth century the work is highlighted supremely as theatrical art. The purpose of thes thesis is to study the work of Giselle from the side of stage aesthetic and then show the peculiar beauty of this work more systematically. Moreover in this thesis I tried to study the position of this work in history of dance through looking into closely the decline cause of the Romantic ballet. Because only so the weight of Gisellean work which has the value for being as emblem of one era is to be found correctly. From this side I kept in mind the following facts as a result of studying of her work. First of all, the work of Giselle is an excellent and is unfolding its story, and then in that manner the peculiar tragic attributes of the woork are shaping. Futhermore this work proeides a fantastic sight through the contrast between rural atmosphere which is essence of the Romantic ballet like Giselleian work, including a wonderful performance of Giselle, and women dancers is the Romantic Tu-Tu. This is the most important factor of Gissllean work's succesful causes. And the excellent acting power of Giselle the leading actress in Acr! and the elegant technique of her in Act II are successful causes which can never be overlooked. By means of these both sides all ballerinas are prepossed with to reach the supreme darding ground a time. I came to some conclusions as follows by summarizing organically such peculiar aspects of GisellEan work. Firstly, the Romantic art has looked in the inner realities of humane beings under their natural surroundings. In a word the Romantic art which was in a state of instinct has had laissez-faire, exciting passion, fantasy of perception, etc., in view of Dionysusian art. The art of Giselle has, of ourss, very much attributes of these types. Secondly, in Gisellean work we can find out obviously a tragic effect in the process of conversion from happiness to unhappiness. Here we aan pay attention to the role of Hilarion. Giselle who could get out of obsession of love by the fact that Albrecht was not a commoner but a count was to Giselle through Hilarion. Threafter Giselle who realized her situation comes back to the real world. It suggests that in the framework of inclusion the rescue through Albrecht dramatizes the frustrated Giselle's frenzy, accordingly Hilarion's true love toward Giselle is only a fantasy and. after all it confronts the trahic reality that is death. Thirdly, in order to know that the work of Giselle may be successful, I have no hesitation in saying that the ballerina who will take Giselle has to take with an extensive porwr of expression through excellent technique and have a deliberate theoretical foundations altogether. Fourthly, the work of Giselle is composed of both the framework of inclusion of Act I and the intrinstic framework, but it is also made up so as to reveal its both frameworks spontaneously by causing the scene of hallucination of heroine Albrecht to choose death. Fifth, this work depends upon the womman dancer's technique too much, for that reason the matters of imagination, sensibility, and power of expression of fantasy was nealected. And laying emphasis on the dramatic effect of idle ease results in gradual fading out dramatic sympathy of Giselle with the lapse of time. I can not help Pointh out above problem. But in spite of these problems up to mow gisellean work has been kept not only its reputation but also its phase as an immortal masterpiece Which is barimg danced by many a world-renowned ballerinas. And I believe the work from nova on will be loved. as a work which will appeal to the inner of all humane beings hotly and sincerely.

해방후 무대의 발전과 무용사적 고찰(1945-1960)

백의선 국제문화학회 1991 역사와 사회 Vol.5 No.-

백조의 호수에 나타난 神의 의미 : -소재적 배경을 중심으로-

백의선 韓國舞踊敎育學會 2001 韓國舞踊敎育學會誌 Vol.12 No.1

The characteristics of [The Swan Lake] choreoeaphied by Macius Petipa and Lev the work. Each function of the leading dancer and Corps de Ballet is displayed radically and as another important feahue, it is dramatized. The 1st act consists of somewhat common characteristics in the whole as mime and Corps de Ballet besides Pas de trios developing in the classical format. The arrangement of dance and mime is organized based on the tradition of classical form. And aiming at the classical format, the 3rd act harmonizes the romanticism and classicism sophisticately. In the Grand pas de Deux of Odile and the prince adding a beauty in the traditional develoFent of change, the dancing 32 Fouettes have a sting characteristics and are completed with the action encaptured with a victory by displaying the magical power of Odile in the role of Devil's deaghter. 2nd and 4th acts, fantastic moods are embodied by pure white costumes. The 2nd and 4th daft can be mentioned as a innocent and poetic idea, expressing emotions in abundant music. Tchaikovsky endowed each character with different characteristics in composition and as he paid careful attention in describing the psychology of the characters and the situations ski17ully, he composed it according to the ballet script. He composed the symphonic music plenty of musical content. The 3rd act is displayed as a psychological drama of the prince wandering about the reality and dream as a radical change. The 4th act is performed in lonely, lonesome, beautiful and poetic expression showing that the swans was anxiety about Odette's late rehem and is developed into dramatic one steadily to reach at the climax rich with emotion. The nature regards as a god the mystery of life having the inner power with permanent living and death by seasons. Rothbart, the devil god in [The Swan Lake], starts to perform from the 2nd act. Due to the magic of Rotyhbart, they are turned into virgins one by one as they arrived at the edge of the lake crossing it when the beautiful moon appears in the lake. The devil rothbart transforms into owl and monitors the virgins day and night. To crease evil means the orrmipotence of the god. In the 3rd act, the prince is encaptured with the attraction of Odile to dance with her due to the magic of Rothbart. And the prince submits to the magic of Roghbart. The prince declares the engagement in front of everyone holding hands with Odile. At this time, the promise between Octette and the prince is broken. Sitting at the window, Odette flies away crying sorrowfully. At that time, the chandelier shining brightly is turned off, the thunder gambles and the weird wind rises. The devil father and eaughter in black clothes disappear leaving a taugh. Finally, the prince realizes that he fell into capricious Rothbart's trap. 4th duct: Octette meets the entity with supematural power to get the power to solve the danger coming in the future. For Odette, this power comes from the pure love. The stronB love of prince ready for death, defeats the Rothbart's magic. Like this, the meaning of god in [The Swan Lake] creates the unique style of the work with the grandiose and spectacular material of fantasy for the future.

발레 신데렐라에 관한 연구

白義善 韓國舞踊敎育學會 1995 韓國舞踊敎育學會誌 Vol.5 No.-

In the year of 1914 when Mr. Serge Sergeyevich Prokofiev was graduated from a school, he met Mr. Serge Diaghilev and composed a ballet music called as "Ala et Loly" for the first time in his life. Cinderella is the 6th work out of his 7 compositions o ballet music. As a pianist, he played freely by lapping tones in octave or reform harmony putting aside from the piano playing way of Mozart or Schubert. In his Paris lis early works, a tendency toward the influence of Debussy, Scriabin and Stravinsky. In 1933, he wound up his paris living and he began to devote himself to look for a new music which was able to break through the inclination of the former experimental mondernism. He was confronted with a turning point after a long wave of mental agony. After 15 years he erturned to Russia in 1935. He struggled along to compose a music which was a question of long standing, that is simple and attractive. At that time, he planned out "Romeo and Juliet". From this Romeo and Juliet, he reached a turning point returning from experimentalism to naturalism and from modernism to romaticism. In his music composition, he used the technique to play simultaneously with the modernistic element, that is melody, effective harmony, clear and colorful characteristic Russian mode. In view of formality, his Compositions have acute rhythm and dynamism, so it harmonizes with his unique lyricism. The Cinderella which was composed for 5years in the latter of the year, is a short music(78 minutes) consisting of 50 tunes. This music was completed in 1945 and presented to "great Tchaikovsky". In creating melody, the cinderella is a composition which is outstandingly harmonized with excellent originality and orchestra. It treated satirically romance, thrill and Victory of the beautiful good over evil, and satisfied fantasticality and lyricism at the same time. The summary of the Cinderella music feature of Prokofiev and devided into 4 items as follows: 1) Classical 2) Innovator 3) Dynamical 4) Lyrical In addition, both dramatic elements coexist, harmonization with optimistic and creative elements constitutional and mechanical elements, wild strength and beautiful lyricism, modernistic music sense and classical mode, and vitality and humor. The original : Volkov wrote a script on the basis of the old story of "개 and Mother Story" written by poet Charles Perrault. It performed with the choreography of Rostislav Vladimirovich in the Bolshoi theater in 1945 for the first time. Further, Konstantin Sergeyev arranged to stage the Kirov ballet troupe in 1946. The Cinderella ballet works of those two troupe became a foundation of today's Cinderella ballet. Mr. Vermnont, a British commentator, criticized "one of the longest romantic ballets since The Sleeping beauty". However, he pointed out there was no mode of Grand Pas de Deux called as ballet's highlight in respect of reason why those could not be staged as a ballet classic such as "Swan lake", "The Sleeping Beauty" and "The Nutcracker".

21세기를 향한 일본의 전기통신 연구개발 동향

백의선,강회일,Baek, Ui-Seon,Gang, Hoe-Il 한국전자통신연구원 1987 전자통신동향분석 Vol.2 No.1

인문,사회과학 논문 : 특기,적성 교육을 위한 댄스스포츠 프로그램 개발연구 -고등학교를 중심으로-

백의선 ( Eu Sun Baek ) 대한무용학회 2002 대한무용학회논문집 Vol.34 No.-

무용 : 잠자는 숲속의 미녀에 관한 연구

백의선(EuiSeonBaek) 한국체육학회 1997 한국체육학회지 Vol.36 No.1

잠자는 숲 속의 미녀 작품은 변화된 시대 상황, 새로운 사고, 감정 및 생활양식 등의 외적변화에도 불구하고 오늘날까지도 세계적인 발레단과 개인 단체에서 끊임없이 공연되어지고 있다. 이처럼 잠자는 숲 속의 미녀 작품이 오늘날까지 정열적으로 무대에 올려지고 있는 이유를 프티파안무의 독창성과 차이코스프키의 음악성에 있다고 판단, 그 기저를 자세히 살펴보는데에 그 의의를 두었다.잠자는 숲 속의 미녀 음악의 이미지는 심미적이고 보다 문학적이고 보다 연극적이라 할 수 있다. 이러한 그의 음악적 특성들이 침체일로에 접어든 발레를 오히려 격상시키며 새로운 발레 발전의 전기를 마련하는데 기여했음을 알 수 있었다. 또한 잠자는 숲 속의 미녀는 차이코프스키의 개성의 반영으로서 유연하고 애상적이며 몽상적이고 서정적이다. 그는 서방유럽 음악의 본질을 파악하고 이를 대담하게 이용함으로써 조국 음악 발전에 기여했다. 그의 작품은 러시아적인 정서와 남유럽적인 표현에 정열적인 것, 원시적인 것, 그리고 소박한 일면을 겸허히 갖추고 있다.넓은 의미에서 프티파의 발레작품은 1막~4막 작품으로 구성되어 있는데 잠자는 숲 속의 미녀는 3막으로 구성되어 있다. 이 작품은 다른 작품과 다르게, 고도의, 테크닉을 요구하는 로즈 아다지오가 있다. 그리고 프롤로그에 5개의 바리에이션과 라일락 요정의 춤이 있으며, 1막에서 볼 수 있는 오로라, 공주와 4명의 구혼자와의 춤은 고도로 숙련된 발레리나만이 연출해 낼 수 있는 동작이다.Marius Petipa의 발레에 나타난 5가지의 일관된 신념으로 발레작품을 창작했는데 다음과 같다.1) 발레의 眞髓는 4-5막의 규모를 갖는 본격적인 그랑 발레가 되었을 때에 찾아 볼 수 있으며 그때에 그 예술성도, 스펙터클도 극대화 될 수 있다.2) 프랑스풍의 고답적인 조형미에다 이태리풍의 allegro가 접목 되었을 때 더할 나위 없는 발레미가 顯現될 수 있다.3) 先來的인 민속풍의 무용을 발레로 유입하여 이상적인 발레나이스가 이루어질 때 보다 다양하고, 보다 풍부한 발레적 바리에이션이 이룩될 수 있다.4) 기교상의 묘기는 세 번 반복하고 네 번째에 다른 묘기로 轉移해 갈 때 반복의 묘기는 최고도에 이르면서 divertissemert적인 시각적 효과는 그 극에 달할 수 있다.5) Pas de Deux는 단순히 두 사람의 무용수가 벌이는 기교상의 화합과 대결에서가 아니라, 포괄적인 극적 플롯에 運然히 여과될 때 예술적 가치도, 무용적 정서도, 고도의 예술미로 승화될 수 있다는 점 등이다.잠자는 숲 속의 미녀 작품에서 다리를 높이 들어올려 지속적인 균형잡기, 한발로 빠르고 날카롭게 돌기, 높은 점프력 등 다양한 테크닉을 통하여 훌륭한 무용수들은 한결같이 오로라 공주역을 선망하게 되었고, 발레 지망생과 발레 애호가들에게 끊임없이 잠자는 숲 속의 미녀를 무대에서 감상할 수 있기를 열망하게 만들었음을 알 수 있었다. “The Sleeping Beauty”, Tchailkovsky’ s masterpiece in his late days has been performing for one hundred years with The Nutcracker, Swan Lake, his three great works. “The Sleeping Beauty” that mixed traditional pantomime, expressive d’ action, the completion of design, establshment erf Ballet pose, divertissement is a majestic and polished work.Tchaikovsky’s way of creation originated his reserved character. He said of the intrinsic meaning of his secret inspiration “passion”. After I made my works with passion, then I made then had a formality by judging, amending and minimizing critically. On occasion, I must oppress cruelly to myself. So, the sheet music composed with love and ecstasy must be minimized I don't sign in want of inspiration. But it is common for me to feel the lack of ultimate ruling power for the formalities. I don't write a work having the form matched matter gradually until I have a hade time of it. His music, “The Sleeping Beauty” that reflected his individulity is soft, sorrowful, dreaming, and lyric. He understood the essence of Western Europe music and utilize it audaciously so that be contributed the development of music in his country. His Russian feeling and South European expression his passionate, primitive, simple aspect.The following is coherent five beliefs expressed in Marius Petipa' s Ballet.(1) The real worth of Ballet is found when it becomes genuine Grand Ballet the has 4~5 act scale so that it can make the spectacle and the artistic quality maximum.(2) The beauty of Ballet can be realized perfectly When the beauty of the high-toned formative of the French way is linked together by allegro of Italian way.(3) It can achieve rather Various fertile and Balletic Variation than the precedential Folk dance realize idealistic Ballet Nice through inflow into Ballet.(4) There is the firm belief concerned pattern. When artificial trick is repeated three times, on fourth time it is changed another trick, the mystery of repetition and divertissementic visual effect can be reached to extreme.(5) Pas de deux can’t be found in two dancers' artificial harmony and competion. Rather when it is percolated perfectly in a comprehensive dramatic plot, the artistic value as well as dancing emotion can be sublimated in the high artistic beauty.