무용 전문 소극장의 현재적 기능 분석 - <창무 포스트극장>을 중심으로 -

최윤실 ( Choi Yun-sil ),윤수미 ( Yoon Su-mi ) 한국무용연구학회 2016 한국무용연구회 국제학술발표논문집 Vol.2016 No.-

본 연구의 목적은 우리나라 최초의 무용 전문 소극장인 <창무춤터>의 맥을 이어나가고 있는 <창무 포스트극장>의 대표 기획 프로그램 고찰을 통해 현재적 기능을 분석하고 그 가치에 대해 논해보고자 하는 것이다. <창무 포스트극장>은 소극장만이 담아 낼 수 있는 정체성 뚜렷한 기획프로그램을 장기화 시키고 새로운 장르를 개척해가며 소극장 문화의 저변을 확대하고 질적 향상을 도모하는 등 무용계에 큰 영향을 미치고 있다. <창무 포스트극장>은 한국춤의 발전과 현대적 흐름을 파악할 수 있는 공간으로 역할을 해나가고 있으며 앞으로의 잠재적 가능성이 더욱 기대되는 바이다. The purpose of this study is to analyze manifest function of < Changmu Post Theater > that has kept itself in existence of < Changmuchumteo >, the first little theater specializing in dance in Korea and discuss its value by considering its representative planning programs. < Changmu Post Theater > has had a great effect on the dancing world by making the planning programs with clear identity that little theaters can show, finding new genres, expanding the base of little theater culture, and promoting the improvement of the quality. More anticipation rises because < Changmu Post Theater > has potential for doing something more in the future as it has played the role of space that the development and modern flow of Korean dance can be understood.

황무봉류 산조춤의 예술적 가치에 대한 조명 - 작품 <잔영>을 중심으로 -

최윤실 ( Choi Yun-sil ),윤수미 ( Yoon Su-mi ) 한국무용연구학회 2017 한국무용연구 Vol.35 No.2

본 연구는 황무봉류 산조춤의 춤사위와 전승양상을 살펴봄으로써 이를 통해 황무봉류 산조춤의 예술적 가치를 탐색하고자 하는데 목적이 있다. 본 연구자가 도출해낸 황무봉류 산조춤의 미적 가치는 다음과 같다. 첫째, 무대 공간 활용에서 탁월함을 보인다. 둘째, 움직임에 있어 예측 불가능한 면모를 보인다. 셋째, 호흡을 짧게 끊어 연결하는 춤 기법을 통해 조형미를 강조한다. 이 같은 미적 가치는 교육적 가치로까지 확대되어 가는데, 미적 가치와 더불어 전승양상 연구를 통해 살펴본 황무봉류 산조춤의 교육적 가치는 다음과 같다. 첫째, 상·하체의 조화로운 춤사위를 사용한다. 둘째, 몸의 구조적 원리를 터득하게 한다. 셋째, 한국춤의 전통적 호흡법 및 창작적 기법의 동시 습득이 가능하다. 본 연구자의 이러한 시도는 황무봉류 산조춤 춤사위의 예술적 분석은 물론 현재의 전승양상을 판가름 할 수 있는 단초를 제공할 것이라 사료된다. 또한, 더 나아가 향후 황무봉 춤에 대한 더욱 폭넓고 심도 있는 연구를 해나가는데 있어 기초자료로 활용되어지기를 기대해본다. The purpose of this study is to research the value of the genealogy Hwang Moo-Bong "Sanjo-chum" by analyzing the tradition aspect and dance movement by each rhythm mainly with "Janyoung" Hwang Moo-Bong`s choreography. The aesthetic value of the genealogy Hwang Moo-Bong "Sanjo-chum" derived from this researcher is as follows. First, the excellence of stage space utilization. Second, unpredictable movements. Third, emphasized aesthetic quality through the dance technique which connects the breath shortly. This value sphere of aesthetic is extended even to educational value, the educational value of the genealogy Hwang Moo-Bong "Sanjo-chum" suggested by the researcher through an analysis of tradition aspect as well as aesthetic sphere quality is as follows. First, the dance movement which uses the upper and lower body harmoniously. Second, mastering the structural principle of the body. Third, it was possible to learn traditional breathing and creative techniques of Korean dance at the same time. This research is considered to provide a clue with which can judge the current tradition aspect as well as the artistic analysis of the dance. In addition, I expect that will be utilized as for more extensive and depth study on the genealogy Hwang Moo-Bong " Sanjo-chum" for further research.

프롤레타리아 동요의 이론과 노래에 관한 소고

최윤실 ( Yun-sil Choi ) 세계음악학회 2018 음악과 문화 Vol.39 No.-

Before and after the 1930s, considered the golden age of children's songs, the discussion on proletarian children's literature, actively developed in daily newspapers and magazines, demonstrates their aspiration and willingness to class music, i.e., agitprop art, for ideological struggle of the group of writers. So what was the reality of the songs based on the theory they pursued? This study attempts to reconsider their existence in the history of the children's songs in Empire Japan’s forced occupation period by comparing the discussions on the proletarian children's songs written in the daily magazine and the realities called songs. First of all, this study focusing on Song Wansoon's "proletariat theory of children's song" appearing in Chosun Ilbo, July, 1930, investigates the theory of children's songs to 'perform political missions as an artistic struggle' and the corresponding actual songs. Works of this trend can be seen in children's magazines such as "Sinsonyeon" and "Byeolnara", which have strong classism character at the time. Then this study checks out the songs listed in “Proletarian children's songs collection, Bul-Byeol.” The character of some works that were duplicated in "Music and Poetry (Eumak and Shi)", a comprehensive art magazine published a little earlier than this children's songs collection, that is, the blatant rage and aggression against hostile class may have been seen in some parts to represent the Proletarian songs so far. But in the proletarian-related children's songs that were sung as the actual songs, there were these attacks and punishments, as well as the hardships and sadness caused by the Japanese takeover and tyranny, and nevertheless, it can be seen that there were also realistic (overcoming) songs that dreamed of hope of the future. Also, although not known in the meantime, through Cho Kwangho’s works and explanations, a composer who appeared several times in "Byeolnara", at the time, nursery rhymes with lyric children's minds, emotions, depictions and imaginations of nature were found to be played at various gatherings of labor and peasants’ children. And while claiming the hierarchy of music and children's mind, in Shin Gosong’s works, who adhered to 'children's pure mind', the everyday and humorous children's mind songs came to the forefront. It is also consistent with the conclusion of Song Wansoon's proletariat theory of children's song, claiming that "We must sing everything". Proletarian children's songs originated from class socialism theory were not all political militant music located at the antipode of the pure angel children's mindism that was defined and separated since then. The aggression that has represented proletarian children's songs due to some aggressive texts is only its part and in the actual songs, it is confirmed that the proletarian children's songs sang the environment and emotions, laughter, fun, and 'children's mind' surrounding the human children. In the 1930s, when children's songs were considered to be the growth period of the creative children's songs, while being inclined to sentimentalism or reading the situation without realizing the reality, at a time when they could only achieve quantitative growth by pursuing the illusion of vaguely naïve children's mind, the proletarian children's songs movement, driven by a willingness to recognize and overcome the reality, a passionate passion for criticism and struggle, certainly had a meaningful role in the history of modern children's songs.

춤소극장운동에 대한 고찰 - 창무춤터, 창무 포스트극장을 중심으로 -

윤수미 ( Yoon Su-mi ),최윤실 ( Choi Yun-sil ) 한국무용연구학회 2016 한국무용연구 Vol.34 No.4

본 논문은 춤소극장운동의 전개과정을 살펴보며 무용 전문 소극장의 역사와 기능적인 면에 대해 분석하고 소극장이 우리 한국창작춤 발전에 미친 기여도와 소극장 공간의 가치 및 중요성에 대해 되짚어 보고자 한다. 본 연구자는 창무춤터와 창무 포스트극장을 중심으로 대표적인 기획공연 및 주요 활동들을 시대 순으로 고찰하여 분석을 시도하였으며, 이를 바탕으로 주요 업적들을 요약 정리하면 다음과 같다. 첫째, 작품발표의 기회가 부족했던 무용인들에게 지속적인 창작활동을 지원하며 무대 제공. 둘째, 외국무용단체를 정기적으로 초청하여 소개하고 한국춤과의 교류 및 접목 시도. 셋째, 이색적인 기획을 통해 무용의 표현영역을 확충시키며 실험의 장·연구의 장 마련. 넷째, 전통춤의 현대적 재창조를 시도하며 진정한 의미에서의 전통 계승과 한국창작춤의 발전방향 제시. 다섯째, 중견·신인·대학생에 이르기까지 단계적 접근을 통해 다양한 세대를 아우르는 기획공연 마련. 현재 창무 포스트극장 이외에도 많은 소극장들이 그들만의 기획공연을 진행하며 한국춤 발전을 위해 힘쓰고 있다. 이제 소극장은 무용인들이 성장해 나감에 있어 반드시 필요한 무대가 되었고, 한국춤의 현대적 흐름을 파악할 수 있는 상징적 공간으로 그 역할을 해나가고 있다. This study attempts to analyze the history and functions of dance speciality little theatre by searching the process of the dance little theatre movement. The researcher tried to examine Changmuchumteo and Changmu Post Theatre representative planned performance and major activity in chronological order, and based on these, the followings are summarized major achievements. First, constantly support the creative activities, and provide stages to the dancers who lack the opportunity of announcement of work. Second, invite and introduce foreign dancing organization regularly and try to exchange and engraft with Korean dance. Third, expand expression realm of dancing through unique planning and arrange a place for experiment and research. Fourth, try creative dance choreography through traditional dance and attempt to combine past and present. Fifth, arrange planning performance that is suitable for each age by staged approach from rookie to junior. Nowadays, not only Changmu Post Theatre, but also many little theatres strive hard for the development of Korean dance through their own planning performance. Now the little theatre becomes the essential stage to the dancers for the development, and it also has role as symbolic space that is prehensible for modern flow of Korean dance.

감성디자인에 나타난 재료표현 분석 : 필립스탁과 카림라시드 실내작품을 중심으로

전수경;최윤실;남경숙 한양대학교 2006 韓國 生活 科學 硏究 Vol.26 No.1

In the modern society, as the interior material has become main subject of the interior design expression, their influence on interior is becoming substantial. At this point, this study has a purpose in not only understanding architectural materials but also researching for characteristics of expression based on five sensibilities in the interior design. First, this study will 1) understand the emotion and emotional design, 2) examine the characteristics of Pilippe Stark's design and Karim Rashid's design 3) understand expression of emotional design and synesthesia in interior space 4) analyze relationship between architectural material and emotional design. Now we can expect the concept of the materialism is changing which based on five sense of human and expect the various characteristics of the interior space.