프세볼로트 메이예르홀트가 프랑스 연극에 끼친 영향 : 1930년 파리 순회공연을 중심으로

임재일(Lim, Jae Il) 충북대학교 러시아 알타이지역 연구소 2020 러시아학 Vol.- No.20

The Paris show on tour in 1930 was an important opportunity to Meyerhold because he was standing at a fork of taking a leap based on the success in the Western countries or degenerating into a political scapegoat. Despite many concerns, Meyerhold gave a huge shock to the French theatre world by succeeding in the show on tour. In Paris at that time, the commercial theatres like Boulevard Theatre and Music Hall were mainly performed while the performance by the Russian director was a bit different from them. The Forest(1924) and The Government Inspector(1926) fully contained the unique art world of Meyerhold that could not be found in France. On top of remarkably showing the constructivist stage and biomechanics, they showed such unique characteristics like episodic composition, simple stage equipment, actors’ mime-like acting, removal of stage curtains, and exposure of scene change. Even though the Cartel des Quatre (Fourth Cartel member) who claimed to stand for avant-garde theatre were fascinated by this show on tour, they all remained in the French tradition emphasizing the authors and language. What Meyerhold aimed for was actually revived by the theatrical people of next generations such as Jean Vilar, Ariane Mnouchkine, Peter Brook, and Michel Crespin about 10-30 years later. After getting out of the traditional stage space, they approached the citizens by refusing the texts and naturalism. This could be viewed as a legacy from the Russian director to France.

시간에 따른 상황 변화를 고려한 상황기반 정보제공 에이전트 개발

임재권 ( Jae-kwon Lim ),이수홍 ( Soo-hong Lee ),박면웅 ( Myon-woong Park ),손영태 ( Young-tae Sohn ),김재관 ( Jae-kwan Kim ),배일주 ( Il-ju Bae ),안원빈 ( Won-bin Ahn ),이태우 ( Tae-woo Lee ) 한국정보처리학회 2010 한국정보처리학회 학술대회논문집 Vol.17 No.2

상황기반 정보제공 에이전트는 주위의 상황을 인식하고 상황에 적합한 정보를 능동적으로 제공해주는 서비스 또는 애플리케이션 프로그램을 말한다. 상황기반 정보제공 에이전트는 현재의 상황을 정확하게 인식하고 그 상황에 적합한 정보를 추천해야 하기 때문에 상황인지 기능, 상황인식 기능, 정보 검색 및 추천 기능 등 다양한 기능이 요구된다. 본 논문에서는 프로야구에서 상황기반 정보제공 서비스 실현을 위해 상황기반 관전포인트 제공 시스템을 구현한 사례를 소개하였고, 구현에 있어 시간에 따른 상황변화를 정의할 수 있는 지식화 모델 구조를 제시하였다. 그 결과 이전 프로야구에서 제공되고 있는 일방적이고, 제한적인 관전포인트 제공 서비스를 개선할 수 있었다.

정보의 신뢰성을 고려한 상황기반 정보제공 에이전트 개발

임재권(Jae-Kwon Lim),이수홍(Soo-Hong Lee),박면웅(Myon-Woong Park),손영태(Yong-Tae Sohn),김재관(Jae-Kwan Kim),배일주(Il-Ju Bae),안원빈(Won-Bin Ahn),이태우(Tae-Woo Lee) (사)한국CDE학회 2011 한국 CAD/CAM 학회 학술발표회 논문집 Vol.2011 No.1

The context-based information service agent is a service or application that be aware of surrounding and actively provide the relevant information. This paper realized context-based observation point service system in order to fulfill context-based information service on the baseball. Also examined a information level`s reliability in order to fulfill the context-based information agent and suggest the usability evaluation and personalized services for the reliability evaluation.

자율이동로봇 이동음원 추적센서 개발을 위한 의사선형 도래각 추정기법

임재일(Jae-Il Lim),나원상(Won-Sang Ra) 대한전기학회 2011 대한전기학회 학술대회 논문집 Vol.2011 No.7

스페인 내전 소재를 통한 브레히트의 파시즘 비판 - 『카라 부인의 무기』를 중심으로

임재일 ( Lim Jae-il ) 한국브레히트학회 2018 브레히트와 현대연극 Vol.0 No.38

As Spanish Civil War broke out, writers such as Earnest Hemingway, George Orwell and Arthur Koestler made efforts to reveal the horrors of war as well as the deaths of innocent people. Such writers not only directly entered the war, but also made efforts to portray what they experienced and saw. However, the theatrical world with its plays serving as part of literature was actually not quite concerned about the war. Under such circumstances, Brecht presented Die Gewehre der Frau Carrar in 1937. Perhaps, this work is the most recognized work that dealt with Spanish Civil War in the field of theater. Die Gewehre der Frau Carrar is a work that brought changes to Brecht’s theatrical world. As Brecht started paying his interest in epic theater from the middle and late 1920’s, he became known as the founder of this field. This reason for this is that Die Gewehre der Frau Carrar has a unique anti-descriptive tendency. If so, the concern is through what occasion did Brecht decide to deal with Spanish Civil War and why did other play writers not pay attention to Spanish Civil War unlike the literary world. In addition, the concern is to find out what factors included in Die Gewehre der Frau Carrar have a tendency that is opposed to Brecht’s principle in epic theater. Although Die Gewehre der Frau Carrar dealt with Spanish Civil War, this work meant more than just a play to Brecht since it included Brecht’s political ideology, his resistance against Nazis and fascism, and the pain in his life caused by asylum.

초등 예비교사들이 자유 탐구 활동 중에 겪은 어려움 조사

임재근 ( Jae Keun Lim ),양일호 ( Il Ho Yang ),홍은주 ( Eun Ju Hong ),임성만 ( Sung Man Lim ),김순미 ( Sun Mi Kim ) 한국과학교육학회 2010 한국과학교육학회지 Vol.30 No.2

영상기반 에스컬레이터 사고 감지 기술

임재호(Jaeho Lim),최성록(Sunglok Choi),이재영(Jae-Yeong Lee),임을균(Eul-Gyoon Lim),조재일(Jae-Il Cho),안세영(Saeyeong Ahn),이호담(Hodam Lee),이상재(Sangjae Lee) 한국철도학회 2018 한국철도학회 학술발표대회논문집 Vol.2018 No.5

기억의 비틀림: 역사와 신화 사이에서 - 와즈디 무아와드의 <그을린 사랑> 연구 -

임재일 ( Jae Il Lim ) 한국연극학회 2013 한국연극학 Vol.1 No.50

<Incendies (2003)> est le deuxieme volet, apres <Littoral (1997)>, de la quadrilogie de Wajdi Mouawad, intitulee Le sang des promesses. C`est une histoire de jumeaux, Simon et Jeanne, a qui la defunte mere Nawal laisse en heritage une aventure labyrinthique, affreuse et dechirante : retrouver leur frere (dont ils ignorent l`existence) et retrouver leur pere (qu`ils croient mort). Cette quete les menera vers un grand secret du passe de leur mere, originaire d`un pays du Moyen-Orient detruit lors d`une guerre civile qui fait vraisemblablement reference, sans le nommer, au Liban. Au travers des memoires personnelles et parfois collectives, cet auteur quebecois, d`origine libanaise, nous presente un tableau critique et sensible qui nous confronte aux images apocalyptiques des affrontements entre communautes politico-religieuses du Proche-Orient. Sa narration epique se concentre sur le drame personnel des jumeaux et de leur mere ; sans faire reference a des nations, le contexte suggere les forces en presence ; et sans citer de faits historiques precis il evoque des faits sordides reels ; cette tragedie lyrique nous projette dans l`horreur universelle de La Guerre. Mouawad nous propose une relecture du mythe d`OEdipe a la lumiere de la guerre du Liban. Dans le mythe grec, OEdipe apprenant la verite sur sa vie se creve les yeux. La protagoniste de Mouawad (la mere), a la fin du proces de Tarek (veritable machine a tuer), reconnait en lui son propre fils qui, non seulement, l`a violee et torturee en prison, mais encore, lui a donne deux enfants, les jumeaux (Simon/Jeanne). Elle decide, des lors, de se taire pendant les cinq dernieres annees de sa vie, parce qu`elle n`a pas tenu la promesse qu`elle avait faite a son fils : "Quoi qu`il arrive je t`aimerai toujours". L`auteur nous mene ainsi, de maniere sensible et terrible, a la decouverte des profondeurs de l`homme et de sa noirceur. Au travers du personnage mythique, nous goutons a une forme d`incarnation de l`Humanite.

연극을 활용한 이주민의 언어교육 방안 연구 : 프랑스 태양극단의 성공사례를 중심으로

임재일(LIM Jae-Il) 한국프랑스문화학회 2020 프랑스문화연구 Vol.45 No.1

En France, entre 2003 et 2008, le Théâtre du Soleil a expérimenté l’apprentissage théâtral pour les réfugiés dans le cadre d’une collaboration avec un organisme proposant son soutien aux migrants : la CIMADE (Comité Inter-Mouvements Auprès Des Evacués). En raison de leurs parcours difficiles, ces réfugiés avaient désespérément besoin d’aide pour s’adapter à la société française. Même si le Théâtre du Soleil a exploré dans un premier temps un programme de jeu dramatique quotidien, il n’était pas évident pour ces migrants tout juste arrivés en France de pouvoir réussir à la fois un apprentissage linguistique et des activités artistiques. Ce programme a cependant permis aux migrants de mener initialement une activité artistique alors même que le Théâtre du Soleil orientait ce processus en se concentrant davantage sur des aspects linguistiques plutôt que sur le jeu d’acteur. En effet, l’important pour permettre aux migrants de s’intégrer à la société française était d’acquérir impérativement la capacité de parler et de s’exprimer en français. Cette troupe a donc réussi à obtenir des résultats positifs en recourant à l’écriture de textes (dans leurs langues maternelles) basés sur leur propre vie puis traduits en français, en corrigeant leur prononciation par la lecture, en leur offrant une certaine stabilité psychologique grâce à leurs expériences scéniques, en les faisant collaborer et communiquer avec leurs partenaires de jeu à travers des créations collectives, en les valorisant et en consolidant leur confiance en eux avec des représentations. Une fois cette expérience achevée, la plupart des participants étaient aptes à mener une conversation basique en langue française, ce qui témoigne pleinement de l’efficacité de ce type d’apprentissage. Certains réfugiés souffrant de dépression ou de troubles après avoir dû quitter leur pays et leurs attaches ont pu reprendre en main leur vie en participant à ce programme. Alors que le flux de migrants est en augmentation constante en Corée du Sud, l’exemple du Théâtre du Soleil parait constituer un atout considérable pour forger une société multiculturelle.

브레히트와 현대연극 : 프랑스에서의 브레히트 연극 수용 -베를리너 앙상블 순회공연을 중심으로-

임재일 ( Jae Il Lim ) 한국브레히트학회 2015 브레히트와 현대연극 Vol.0 No.32

Arthur Adamov, Jean Vilar, Roger Planchon, Benno Bensson and Ariane Mnouchkine, they all are theatrical people that represent the French theatre in the late 20th century. They took the lead on innovation of the French theatre through variety of creative works in the field of playwriting, directing, theory of acting, etc. There seems to be no similarities among them because they had been active in their respective ways of producing creative works along with individual interest however, interestingly enough, they all developed their own artistic abilities under the influence of Brecht. During the 1940s, the French theatre was mainly concentrated on play focused on text, rejecting realism and commercialization because it was influenced by Jacques Copeau. In 1954, the Berliner Ensemble showed Mother Courage and Her Children by Brecht on stage at Paris. The French theatre was shocked and fascinated by the unfamiliar play by a German playwright that the theatre had never encountered before. The theatre discovered that the play interferes with the audience`s flow of attention and attracts rational reflection caused by several points such as explanation of scene using sign, continuous intervention of song and narrator, rejecting development of empathy by audiences, and removing the fourth wall between actors on stage and the audience. The play was performed four times in the 1950s and this helped Brecht to earn a reputation in the world. The work of Brecht gained recognition in France through these shows and it had a great impact on the French theatre practitioners along with the unfamiliar terms from his play such as epic theatre, alienation effect and anti-illusionistic drama. Especially after the late 1950s, there was a Brecht craze and many of his works were performed. He became one of the famous playwrights who had many of his works shown at theater following those from Moliere and Shakespeare. This craze happened not only because of a refreshing jolt that the play of Brecht brought, but because of the great effort into this play made by the French theatre. The magazine, Theatre Populaire took the lead in introducing the play of Brecht and L`Arche, a publisher had continuously printed a book of poems, novel, complete dramatic works of Brecht and theoretical book. Furthermore, the craze continued after the death of Brecht and even influenced the 1960s, a time period that social unrest of people from all walks of life erupted. The influence by Brecht for this time period can be identified into two main streams. Jean Vilar and Roger Planchon promoted the popularization of play. Armand Gatti and Ariane Mnouchkine searched for a space other than a stage as they actively intervened into social issues. Their respective characteristics are a bit different, however they all were affected by Brecht`s theatre and developed his influence into plays in their own way.