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李昌九 청주대학교 연극영화학과 1987 연극영화학보 Vol.1 No.-
The basic repertory of Greek architectecture was in creased in one respect only, the openair theater achierd a regular, defined shape. Before the fourth century, the auditorium had simply been a naturl slope, preferably curved, equipped with stone benches, now the hillside was provided with concentric rows of seats, and with staircase-aisles at regular intervals, as at Epidaurus. At the center is the orchestra, where most of the action took placce. At the extreme right we see the remains of a bll-like building that formed the backdrop and suporthe scenery. In terms of the stage setting, the Roman was similar to the Greek except that the Roman stage setting was more complicated brilliant. I studied the literature on the drama, the changes of stage setting and the effect of stage setting on the drama from ancient times to the 20th century and I came to the conclusions as follows. Stage setting changes in accordance with the chages of the feature of each period. In ancient times, they had religeous D-rama, in middle ages drama for entertainment in a pantomime, and in the 20th century they had modern drama with have various froms of expression. Stage setting has been in fluenced by the tides of art such as romanticism in the days of Renaissance, realism in the 19th century, surrealism and realism and symbolism in the 20th century. Stage setting has close relationship with the shape of stage, In ancient times stage setting had close relose rleationship with the circle stage and the semecircle stage iri the field, the moving stage in middle ages and the modern shape of theater in modern times. Architects and painting artiets have contributed to the atage setting the architects in the days of Renaissance, the paintists in the 19th century and the painting artists, sculptors and architects in the 19th century have contributed muck to stage setting. Stage setting has been influenced by the development of stage engineering. The 19th century gave to the stage the realistic play and its fourth wall. The 20th century provided settings and lights. that were far more beautiful and expressive than anything the theater had known before. The new stagecraft made over the production methods of the theater of the civilized world. Also, it enabled plays to be written in new ways. It made the realistic drama more illusive, but it also helped the writer to develop a very different technique.
한영구 청주대학교 연극영화학과 1989 연극영화학보 Vol.2 No.-
‘살인은 현대라는 범죄적인 시대의 당연한 표현이다. 범죄가 비교적 맞아 떨어지지 않은 것은 그것이 소규모였기 때문이다. “한 사람을 죽이면 악한이 되지만 백만인을 죽이면 영웅이 된다.……”’ 이것은 2차 세계대전 당시 채플린의 발전, 반파쇼 비판영화 무슈 베르두(Monsieux Verdoux ; 1947)란 작품의 마지막 대사로써 살인죄로 단두대에 끌려가던 수슈 베르두(찰리 채플린분)가 신문기자에게 던지는 최후의 적색신호이다. 20C는 컴퓨터를 낳았으며 테크노피아의 과업을 이룩하였다. 또한 영상과 매체의 신화를 창조했으며 물질과 문명의 풍요로움을 가져다주었다. 그러나 앞서 채플린을 인용한 것은 그라는 인간이 그립고 웃음과 눈물이 아름답기 때문이었을 게다. 우리는 느낀다.