금융공학

홍창수 대한산업공학회 2003 ie 매거진 Vol.10 No.1

Analysis of queuing mine-cars affecting shaft station radon concentrations in Quzhou uranium mine, eastern China

홍창수,Guoyan Zhao,Xiangyang Li 한국원자력학회 2018 Nuclear Engineering and Technology Vol.50 No.3

Shaft stations of underground uranium mines in China are not only utilized as waiting space forloaded mine-cars queuing to be hoisted but also as the principal channel for fresh air taken to workingplaces. Therefore, assessment of how mine-car queuing processes affect shaft station radon concentrationwas carried out. Queuing network of mine-cars has been analyzed in an underground uraniummine, located in Quzhou, Zhejiang province of Eastern China. On the basis of mathematical analysis ofthe queue network, a MATLAB-based quasi-random number generating program utilizing Monte-Carlomethods was worked out. Extensive simulations were then implemented via MATALB operating on aDELL PC. Thereafter, theoretical calculations and field measurements of shaft station radon concentrationsfor several working conditions were performed. The queuing performance measures of interest,like average queuing length and waiting time, were found to be significantly affected by theutilization rate (positively correlated). However, even with respect to the “worst case”, the shaftstation radon concentration was always lower than 200 Bq/m3. The model predictions were comparedwith the measuring results, and a satisfactory agreement was noted. Under current working conditions,queuing-induced variations of shaft station radon concentration of the study mine are notremarkable.

윤조병의 개구리 3부작의 주제의식 연구 - 아동희곡집 『개구리 이야기』를 중심으로 -

홍창수 한국아동청소년문학학회 2019 아동청소년문학연구 Vol.- No.25

This paper studies on thematic consciousness of Yoon Jo-byung’s collected plays for children The Frog Stories. The Smallest Frog Prince in the World is adapted from original tale The Frog King, accepts the style of Christian Morality plays. As a veteran playwright, Yoon recreated the tough original into elaborate and refined plays. But thematic consciousness of this play is not beyond it of original tale, which emphasizes some moral consciousness such as fulfillment of promise, self-restraint. Happy Street the Frog shows only his new and creative thematic thought. This play’s dramatic situation that frog family is threatened to kill by predators, is an allegory that alludes a divided situation of Korean peninsular suffered aggression by foreign power. As his basic thought, national ideology and Korea people’s community works this play. In Yung-hee and Frog Puppet, love between humanized Puppet Chacha and Yung-hee is not accomplished. Chacha gives up human being on account of his weird look different from human beings, human’s derision and scorn, and his maladjustment in human world, etc. Its ending resolution is based on his attitude as a playwright, which lays stress on reality than empty dream. What is the reason that he created Frog plays as a series? He regards frog as paradoxical existence. A frog is very small, weak, and weird animal. Yoon discovers its double opposite sideness. He depicts a frog’s physical appearance ostensibly, but emphasized on its inner value and spirit. To say nothing of moral consciousness of The Smallest Frog Prince in the World, Resistance and overcome through cooperation in Happy Street the Frog and self-awareness and understanding human world in Yung-hee and Frog Puppet. 세 편의 아동희곡을 모은 책인, 윤조병의 『개구리 이야기』의 주제의식을 연구했다. 그리고 그 극작가가 개구리를 시리즈로 창작한 이유를 살펴보았다. 「세상에서 제일 작은 개구리 왕자」는 원작 「개구리 왕」의 번안극으로서 기독교의 도덕극 양식을 수용했다. 작가의 필력에 걸맞게 원작 이야기를 정교하고 세련되게 희곡으로 재창조했다. 그러나 작품의 주제의식은 도덕의식을 강조하는 원작에서 크게 벗어나지 못 하였다. 「행복거리 개구리」는 작가만의 새롭고 창의적인 주제의식이 드러난다. 이 작품에서 개구리 가족이 상위포식자인 뱀과 독수리의 위협을 받는 상황은 외세의 위협을 받는 한반도의 분단 상황을 암시하는 알레고리다. 이 작품에는 가족을 중심으로 한 민족주의 이데올로기와 한민족의 공동운명체 의식이 작동하고 있다. 「영희와 개구리 인형 차차」에서 인간이 된 인형 차차는 영희와의 사랑을 성취하지 못한다. 보통 인간들과 다른 외모, 인간들의 조롱과 멸시, 인간 사회의 부적응 등으로 차차는 인간을 포기한다. 여기에는 헛된 공상보다는 현실을 중시하는 작가의 태도가 깔려 있다. 개구리 3부작에서 작가가 기본적으로 전제한 개구리의 이미지는 외형에서 느끼는 작고 나약한 미물이다. 「세상에서 제일 작은 개구리 왕자」에서는 원작처럼 공주에게 번번이 무시당하는 이미지로, 「행복거리 개구리」에서는 작고 나약한 피식자로, 「영희와 개구리 인형 차차」에서는 인간들의 조롱과 멸시의 대상으로 나타난다. 그러나 작가가 본질적으로 의도한 것은 작은 개구리의 내면에 숨어 있는 정신과 가치다. 개구리들의 협력을 통한 저항과 극복, 인간 세계의 이해와 자신에 대한 자각은 소중한 정신이자 가치다. 결론적으로 극작가 윤조병에게 개구리는 작고 나약한 외형과 반대되는, 내면의 가치를 지닌 역설적인 존재다.

차범석의 전쟁 소재 희곡의 연구

홍창수 안암어문학회 1998 어문논집 Vol.38 No.1

전후 세대 애정 소재 희곡의 반윤리성에 관한 연구

홍창수 한국연극학회 1998 한국연극학 Vol.10 No.1

This paper studied Anti-moral love in post-Korean war generation's drama. Here 'post-Korean war generation' means new dramatists of 1950's. Love theme is common to not only older dramatists but younger ones and pervades in theatrical world. This phenomenon including socio-structual property is related to popular culture of 1950's. The underground that melodrama including drama dealing with love was popular in 1950's is as it follows : the overflow of melodramatic western movies, government's politic support of movie industry, the sudden increase of melodrama influenced by Korean and foreign movie industries, spectator's strong artistic inclination for popular art, melodrama's attraction itself. These elements interacted and formed the important part of popular culture in Korea, and had many influences on the theatrical world, especially new dramatists. Western popular culture as an influential element is essential to elucidate drama delt with love of so called 'post-Korean war generation'. We can see western living room, popular song, dance, and westernized character etc. in those dramas. This proves the close relations between those dramas and western popular culture. And this opens the possibility of new style of drama from a viewpoint of form and dramaturgy. But anti-moral love like incest and erotic desire which new dramatists in 1950's were concerned for as a subject matter is new ethical consciousness diffrent from that of ante-Korean war's drama. But it was not embodied as a dramatic theme. A woman protagonist in Oh Hakyoung's The bridge of an abyss and Joo Pyung's A holy night's Song is a Korean daughter-in-law who pursues free love in 1950's. But her recognition for free love was not be solidated and related to outer society structually. As love and conflict in drama were superficially described, anti-moral in it missed its essence. And from a viewpoint of catastrophe, the thematic consciousness of anti-moral which dramatist longed to describe in the process of drama weakened in the part of end and did not persist throughout. Punishment of accidential death, moralistic admonition, suddenly suicide as a type of catastrophe means the disorder of dramatist's consciousness. This proves that it does not mean the fomalistic defect of dramatic structure but the chaos or disorder between traditional and western ethical consciousness. This conscious anomie means new dramatist's limit and is finally due to an unripened realistic condition of 1950's.

작품 노트

홍창수 사단법인 한국극작가협회 2023 한국희곡 Vol.89 No.-

방정환 동화극의 극작술 연구

홍창수 한국극예술학회 2017 한국극예술연구 Vol.0 No.58

I studied Bang Jeonghwan’s theatrical career and its meaning, interpreted two plays for children, Noraejumeoni (A Songs’ Pocket), Tokkiui jaepan (A Rabbit’s trial) on the point of theatricality, and studied their dramaturgy. They were adapted by a writer of juvenile stories Bang Jeonghwan. Especially I paid attention to what he said “plays for children so easy to be produced by anyone.” So I interpreted dramaturgy of those two plays His realistic theatrical recognition and children’s theatre activity are closely related with a Korean inherent religion Cheondo-gyo, which was his ideological background of nationalist activity. According to the testimony of his friend, the first play which Bang Jeonghwan wrote and directed in March of 1918 was ○○ryeong (An order~). It dramatized a poor peasant’s tragic reality which had anti-Japanese orientation. His another play Hannere-ui Jukeum (Hanneles' Death, produced in January 14th of 1923) was adapted by him from a Deutsch original work. It was not that a little protagonist went to Heaven, but that she died so sadly. It implicated destitute reality in the Japanese colonial period. Cheondo-gyo’s religious theatre Sinsaengui Il (A New-born Day) possibly has a protagonist’s life in reality and afterlife in Hanul like Heaven in Christianity. He goes on trial there. Much to our regret those two plays are not present. His two theatre of children’s story was named ‘theatre of children’s story to easy to produce.’ He considered not only convenience of, but also economy of performance production. In his two plays he suggested minimal settings and cheap tools to get easily in our daily life as soon as possible. And he used several sound effects such as bird’s sound, cock’s cry, wind’s sound and leaves’ shaking sound etc. They expressed dramatic situation effectively and alluded to changes of each situation. One of the most specific characteristics in his two theatres of children’s story is above all diverse utilization of language. First, we can see repetition of language in texts easily. This repetition helps children spectators understand theatres fully. Because theatre as one of performance arts is flowing-time drama and has irreversibility. We pay attention to contrast of playful and comic language and realistic language in Noraejumeoni, and so playful languages in Tokkiui jaepan. His two plays’ world is a comic world which children wish to live in. The world where a lot of Doggaeby (beings like hobgoblin in Western) live in Noraejumeoni is imaginary, fantastic, festive and romantic world. Tokkiui jaepan is also children’s ideal world which criticized both two adult characters, that is, a tiger’s ingratitude and a stupid passenger. Finally his two dramas have deficits which overlooked easily. What all Doggaeby considered an old man Park as an object of penalty in Noraejumeoni is a fault and dramatic action lacking unity of drama. And a lack of Tokkiui jaepan is due to a want of construction characters Tree and Mountain road. 이 논문은 방정환의 연극 행보와 그 의미를 살폈고 동화극 <노래주머니>와 <톡기의재판>을 분석하며 극작술을 살폈다. 방정환의 사실주의적인 연극 인식과 어린이 연극 활동은 그의 민족주의 활동의 사상적 배경이 되었던 천도교와 밀접한 관련이 있다. 방정환의 첫 작품 <○○령>(1918. 3)은 가난한 농민의 비극적인 현실을 다룬 반일(反日) 성향의 연극이었다. 독일 원작을 각색한 <한네레의 죽음>은 어린 주인공이 천상에서 구원받는 것이 아니라, 비극적 죽음을 맞이함으로써 식민지의 궁핍한 현실을 암시하게 했다. 천도교 종교극 <신생(新生)의 일(日)>(1921. 8)은 주인공이 지상 세계에서 살다가 죽어서 망자가 된 뒤 하늘에 있는 재판장에 가서 심판을 받는 내용으로 짐작된다. 세 작품 모두 작가가 창작한 것으로서 현전하지 않는다. 방정환의 두 동화극의 극작술은 ‘아모나 하기 쉬운 동화극’, 즉 공연 제작의 편의성만이 아니라 경제성도 고려되었다. 그는 최소한의 무대장치와 값싸고 생활 주변의 소도구를 제시하였다. <노래주머니>의 새소리와 닭의 울음, <톡기의재판>의 바람 소리와 나뭇잎 흔들리는 소리 등 두세 개의 음향으로 극중의 상황을 잘 표현했고 상황의 전환에 이용하였다. 방정환의 동화극에서 두드러진 특징 중의 하나는 언어의 다채로운 운용이다. 두 동화극의 공통적인 언어의 특징은 반복에 있다. 이 반복성은 공연예술의 일회성과 불가역성의 특성을 고려하여 어린이 관객에게 극의 흐름에 따라 내용을 제대로 이해하고 숙지하게 하려는 배려 차원에서 이뤄졌다고 본다. <노래주머니>에서 도깨비의 유희적인 언어와 소년들의 사실적인 언어의 대비와, <톡기의재판>에서 토끼의 유희의 언어는 의미의 혼란과 희극적인 웃음을 극대화한다. 두 동화극의 세계는 아이들이 소망하는 상상의 희극 세계다. <노래주머니>에서 도깨비의 세계는 신이한 능력을 펼치는 상상의 세계이자 가무(歌舞)의 잔치가 열리는 풍요로운 낭만의 세계다. <톡기의재판>는 어린이와 동일시되는 토끼의 관점에서 은혜를 모르는 호랑이와 어리석은 나그네같은 어른들을 비판하는 풍자 세계다. 그런데 두 동화극에서는 간과하기 쉬운 결함이 있다. <노래 주머니>의 제3장에서 괴수와 도깨비들이 징벌 대상으로 박 노인을 설정한 것은 통일성이 결여된 연극적 행동이다. <톡기의재판>에서는 의인화된 등장인물 나무와 행길의 인물 구축에 대한 일관성이 결여되었다.

공이모의 신춘문예 희곡상 신설과 의미

홍창수 공연과이론을위한모임 2015 공연과 이론 Vol.- No.57

공이모의 발전을 위한 제언

홍창수 공연과이론을위한모임 2014 공연과 이론 Vol.- No.54

송영의 북한 역사극에 나타난 역사의식

홍창수 국어국문학회 1999 국어국문학 Vol.- No.124