연극단체 평가지표 시안 연구

오세곤 ( Se Kon Oh ),김지연 ( Ji Youn Kim ),박진태 ( Jin Tae Park ),박세연 ( Sei Yeun Park ) 한국연극교육학회 2007 연극교육연구 Vol.13 No.-

문화예술교육 관련 법령 및 제도 연구

오세곤(Se-Kon Oh) 순천향대학교 인문학연구소 2008 순천향 인문과학논총 Vol.22 No.-

In recent years, there has been much activity in the field of arts and culture education. The Arts and Culture Education Supporting Act passed in December, 2005 along with the Korea Arts & Culture Education Service established in February, 2005 are foundational to the continual growth of education in this field. Accordingly, there is a pressing need to closely examine all legal matters related to the Arts and Culture Education Supporting Act and all institutional matters regarding the Korea Arts & Culture Education Service, as both heavily determine the future direction of arts and culture education. Upon inquiry into this subject, I have found that although the current laws and institutions regarding arts and culture education correctly highlight the importance of that education and emphasize it as a fundamental right of the citizenry and as an obligation on the government's part, this rhetoric is nominal at best. The reality is that there are many problems. For example, because the law lacks any real power of enforcement, most autonomous counties and educational institutions do not even abide by the guidelines laid out in the law. Furthermore, the qualifications of the human resources needed to educate students are questionable, thus the law suffers from ineffectiveness. Also, it is all too probable that budget issues could be left to the whims of an administrator. In order to take our arts and culture education from this initial stage to one that is more stable, we must first address the problems cited above.

이오네스코의 부조리극과 그 한국 공연사

오세곤(OH Se-Kon) 한국프랑스문화학회 2009 프랑스문화연구 Vol.18 No.-

Le théâtre de l'absurde poursuit l'invraisemblable vrai tandis que des théâtres traditionaux poursuivent le vraisemblable invrai. Pourtant, le théâtre de l'absurde de l'Europe occidentale et celui de l'Europe orientale montrernt chacun leur propre caractérisitique. Celui-ci est un théâtre réaliste et critique alors que celui-là est un théâtre existentiel et fondamental. La cantatrice chauve, premier théâtre de l'absurde, la Leçon et les Chaises montrent bien les caractéristiques d'Ionesco. Et ses chefs-d'oeuvre des dernières années, y compris Circle de Bérenger, témoignent de sa dramaturgie mature. C'est 'la Troupe théâtral Shilhum' qui a représenté une pièce d'Ionesco pour la première fois en Corée : la Leçon en 1960. Par la suite, surtout ses trois premières pièces ont été représentées en Corée. Et également, le Roi se meurt, Rhinocéros, Jeux de massacre. Les Coréens ont préféré ainsi seulement ses quelques oeuvres. Cependant, plusieurs compagnies essaient de représenter ses autres pièces en 2009, le 100ème anniversaire de sa nassance. Cela stimulera de nouveaux regards sur Ionesco ainsi que le théâtre de l'absurde.

대학 취업률 조사를 위한 개인창작활동 인정기준에 관한 연구

오세곤(Oh Se Kon) 한국예술종합학교 한국예술연구소 2015 한국예술연구 Vol.- No.12

2015 개정 교육과정에 따른 6개 핵심역량의 문화예술교육적 가치

오세곤 ( Oh Se-kon ),김윤희 ( Kim Yoon-hee ) 한국무용교육학회 2016 韓國舞踊敎育學會誌 Vol.27 No.4

The revised curriculum of 2015 puts forward "raising creative individuals with converged merits" as its essential goal. In addition, as the target features of individuals, it portrayed "individuals who are autonomous, creative, cultured, and harmonize with others" and it suggested six core competencies to achieve that: the competence of self-management, the competence of processing knowledge and information, the competence of creative thinking, the competence of aesthetic sensitivity, the competence of communication, and the competence of community. In the meantime, cultural art education aims to "contribute to raising the quality of life of people and strengthening the cultural competence of the nation", "pursues participation of people in culture and education", and intends to "establish and support the environment where the general public can get culture and art education in their daily life, realize cultural wellbeing of the people, and raise creative individuals to strengthen national competitiveness". Under the premise that the revised curriculum and cultural art education are in the same context in terms of "creativeness" and "conversion", this study analyzed seventeen theses on the effect of cultural art education and seven domestic and overseas cases of cultural art education. The result showed the effect of cultural art education included all the six competencies that were suggested in the revised curriculum. Among the five core competencies excluding the competence of aesthetic sensitivity that is naturally included, the competence of self-management especially stood out, and it was followed by the competence of communication, the competence of creative thinking, the competence of community, and the competence of processing knowledge and information. The revised curriculum of 2015, unlike past curriculums that focused on acquiring knowledge, was developed to fit in the current environment where lots of information can be easily gained at any time. In implementing this curriculum that is grounded on core competencies, cultural art education that is based art can be an important measure. It is because art, unlike the previous education in which all the people pursue the one correct answer, is an area where anybody can pursue their own answer creatively.

반휴지 연구

오세곤 ( Oh Se Kon ) 한국연극교육학회 2016 연극교육연구 Vol.28 No.-

As a form of art, theatre strives for perfection when it comes to expression. For this reason, dialogue must also be perfect, as one of the main methods of expression in a theatre. When the actor is performing the given dialogue, pause in addition to intonation are the main ways of conveying the intended meaning and the feeling. Unlike in daily life, actors must be able to recognize even the smallest rules of language. However, rules regarding pause are much simpler in being simply ``existent or non-existent``, compared to that of intonation. But in reality, pause can be classified into various different types. There is a type of pause which includes cut off of articulation along with complete breath being possible, however there is also a type of pause that does not include any breath or stops at an incomplete state then goes on to the next syllable. In addition, there are cases in which the separation of syllables are clear allowing for the law of final sound of a word and the law of the initial sound of a word to work properly, however there are also cases in which only cut off in only the time exists as retro-assimilation and prolonged sound phenomenon are maintained. And there are cases in which the cut off in time is virtually undetectable but the existence of minute pause is revealed from the change in intonation. Regarding such problems, some of the acting conversational skill books have expressed it as "half-breath". However, as breath and pause are not required to be in accordance with one another, they must be thought of separately. In particular, a clear way of differentiating the pause is necessary to actors, who must perform their language in an objective manner.

예술인 계약환경 실태 분석 : 무대예술(연극) 실연자(배우)를 중심으로

박지우 ( Park Ji-woo ),오세곤 ( Oh Se-kon ) 한국무용교육학회 2018 韓國舞踊敎育學會誌 Vol.29 No.3

The purpose of this study aims to examine the Artist Welfare Act which has repeated bad habits and practices due to weak recognition of the contract creation environment of the performing arts field, low satisfaction and insufficient punishment for unfair transaction, and to understand the problems of not only the ambiguous nature of contracts and contract creation environments but also of the Artist Welfare Act that doesn’t take into consideration the specificity of the performing arts field, by conducting a survey, collecting relevant articles(cases) and asking for legal consultation. This study aims to propose supplementing the provisions of the Artist Welfare Act so that a good symbiotic environment can be achieved by avoiding unfair practices in contracts between performers(actors) and cultural arts businesses, including the need for standard contracts and contract training.

방송극 대사의 문제점 연구 -TV 드라마를 중심으로-

김선영(Kim, Sun-Young),오세곤(Oh, Se-Kon) 동국대학교 영상문화콘텐츠연구원 2021 영상문화콘텐츠연구 Vol.22 No.-

본 연구는 TV 드라마 국내 작품 중 현대물 8편과 사극 2편의 대사를 분석하여 문제점을 파악하였다. 그 결과 대사 창작 과정에서 발생하는 오류로 어색한 문어체, 어휘나 문법의 오류, 비속어 등의 문제를 발견하였고, 대사 구사 과정에서 발생하는 오류로 발음, 휴지, 억양의 문제를 찾아내었다. 현대물의 대사는 일상어와 비록 문법이나 어법은 같지만 그 성격은 전혀 달라서 미리 준비하고 연습해서 구사하는 언어임에도 불구하고 ‘사실’과 ‘사실적으로 보이는 것’을 혼동하고 있었다. 또 음절 분리에 인색하여 시청자들이 정확하게 듣지 못 한 채 대충 상황만 이해하게 되기도 하고, 일상 어법에 어긋나서 크고 작은 자극을 남기기도 하는 상태였다. 사극에서는 고양된 언어를 사용하면서 일상어의 어법과 어긋나는 경우가 많이 발생하였는데, 이는 연기자들이 지니고 있는 본능화된 언어 능력이 100% 발휘되지 못 하는 상태이므로 반드시 극복해야 할 사항이다. This study analyzed the lines from eight domestic and two historical TV series and identified the problems of them. According to the result, there were problems such as awkward literary style of speaking, vocabulary and grammatical errors, and swearing words due to the errors that occurred while the lines were made, and also problems with pronunciation, pause and intonation that occurred when actors spoke their lines. Lines from contemporary TV series and everyday language have the same grammar but their features are completely different, so actors need to practice and prepare to speak their lines, but they were confused between “fact” and “fact-like thing.” In addition, they did not separate the syllables enough, so the viewers could only roughly understand the situations without listening to their lines accurately, and their lines went against daily grammar, leaving big and small stimuli. In the historical TV series where formal and old language was used, there were lots of cases where the lines in them were against the grammar and idioms of everyday language, which is something that must be overcome since it means that the instinctive language abilities of actors are not 100% demonstrated.

도시 재생의 문화 영향 평가

이반희 ( Lee Ban-hee ),오세곤 ( Oh Se-kon ),민경원 ( Min Kyung-won ) 한국무용교육학회 2021 韓國舞踊敎育學會誌 Vol.32 No.4

As the flow of urban development reflects the needs of residents to lead their current lives, they have begun to focus on “sustainable” regeneration. Following this trend, it was aimed at ‘cultural urban regeneration’, and the role of arts and artists closely related to the lives of residents became important as the core and driving force of culture. However, Korea’s urban regeneration projects are very negligent in art and artists, making it difficult for artists to settle in the region and the sustainability of culture is very low. Therefore, after deriving key elements necessary for artists to settle in the region through clear overseas cases, I would like to suggest adding “sustainability” areas to the “cultural impact assessment” and setting detailed indicators such as “artists living space”, “creative space” and “public and social activities”.

연극 전공 대학생들의 댄스스포츠 체험 의미 탐색

홍서현(Hong, seo-hyun ),오세곤(OH Se-Kon) 한국콘텐츠학회 2017 한국콘텐츠학회 종합학술대회 논문집 Vol.2017 No.5