연극 ‘하얀중립국(원제:안도라)’의 무대의상 전개과정

조우현,조현진,박민재 한국의상디자인학회 2013 한국의상디자인학회지 Vol.15 No.4

The stage costume in theater, along with the stage art, is the element that has the biggest visual effect in helping the audience to understand the theater. Nevertheless, in the domestic theater production system, compared with the other public performance products, the stage costume has been rented or purchased due to the lack understanding of the importance of the stage costume and budget problem, and thus the role of the stage costume has been undervalued. Such a phenomenon is more noticeable in the small scale theater. However, in this play White Neutral Nation (Original: Andorra), the production team and the directing team recognized the importance of the costume in the early stage of production , and accordingly lots of efforts, such as staff meetings and budget allocation, were made for the stage costume. As a result, the entire production process of the stage costume could be examined. Recently, performance culture in Korea has made rapid progress and diverse forms of public performances are created and planned. Accordingly, the level of audience has been rising and the interest in the stage costume is also rising. So, it can be said that not only the stage costume but also the production system that makes it are important. This research examined the production process of the stage costume only of the play White Neutral Nation but it is considered necessary to make researches on the production process of the stage costume used for the theater of different themes and public performances of different kinds and to systematize their production process of the stage costume.

오페라 ‘아이다’ 무대의상에 관한 고찰

유명의 한국일러스아트학회 2013 조형미디어학 Vol.16 No.2

The goal of this article was to study about stage costumes of the Verdi's 'Aida' which holds the stage internal and external nowadays. And also study about stage producing and theoretical backgrounds of 'Guiseppe Verdi' & 'Aida'. In this article, several opera DVD were sorted and analyzed mainly with the stage costumes including costume design, color, materials and stage design. Of course these DVD were acknowledged for main producers and were masterpieces that live recorded DVD. Consequently, First, the changes of opera producing influences opera stage costumes. As the greatest change, the absolute status of producer became paralleled with the conductor compare to past. This suggests that the gravity of stage costumes came into the picture. In first performance of 'Aida' in Cairo Theater in Egypt, the sets and costumes are designed by Egyptian influences such as paintings of pyramid and Egyptian heritages. Second, the producing methods of opera is in diverse progressing continually for 150 years. But in spite of These changes, traditional stages and costumes are still existence. and there are reinterpretations of opera libretto, delicate and psychological producing, and reproduction of past production. According to these changes, stage costume brought modern fashion style, ethenic influence and recycling of old fashion style. And these remarkable changes should be considered as a manufacturing stage costume related to gorgeous light and the high tech-movies rather than stage design. Therefore stage costume design has to attempt with an initiative spirit. For the diverse producing of opera, systematical training course is needed for deep understanding on the works and multiplicity of analysis on the characteristics in the intention of expressing of the play. We need educated experts who has sensuous design ability which should be helpful to understand cultual, art, social background based on the humanists grounded according to this implication. For the development of performing arts, especially good quality of opera performances, big interests about stage costumes are needed. 본 연구는 베르디의 ‘아이다’ 무대의상에 대하여 고찰한 것이다. 무대연출과 무대의상, 오페라 ’아이다‘와 ’주세페 베르디‘의 이론적 배경에 대하여도 고찰하였다. 오페라 ’아이다‘의 공연영상물 중에서 특징적인 무대의상을 보여주었던 오페라 ’아이다‘ 공연 을 선별하여 본 연구의 대상 공연으로 설정하였다. 연구 결과, 오페라 무대의상은 연출의 변화와 맥락을 같이하며 변화하고 있음을 알 수 있었다. 초연에서는 이집트문화를 상징하는 신전의 벽화나 고대 이집트 의상이 무대의상의 기본 콘셉트였었다. 그러나 초연 이후 약 150여년의 세월동안 오페라 무대는 계속 진화하고 있었다. 우선 오페라의 무대가 다양해졌다. 이러한 무대유형의 변화는 무대의상에도 지대한 영향을 끼치게 되었다. 그러나 이러한 변화에도 불구하고 여전히 원작과 초연을 그대로 따르는 재현의 무대를 확인할 수 있었다. 또 리브레토 자체를 재해석한 무대연출도 찾을 수 있었다. 이 경우 시대는 물론 상황까지도 재해석하여 연출을 설정함으로서 무대의상도 이에 따라 획기적인 변화가 있었다. 오페라 제작 시기를 무시하고 현대의 상황으로 설정하는 경우에는 현대패션의 흐름을 반영하는 무대의상을 필요로 하였다. 또 다른 연출의 변화로는 아리아 음악을 중심으로 부각시키는 심리극적 연출을 들 수 있다. 이러한 연출은 협소한 무대에서도 손색없는 오페라 연출이 가능하며 무대의상의 역할이 더욱 커짐을 알 수 있었다. 과거에 성공적인 연출을 경험했던 극장들의 기 프로덕션의 재활용 연출도 확인되었다. 이 경우에는 과거의 무대의상을 리폼하거나 같은 형태로 새롭게 제작하는 등 무대의상 활용의 범주가 더욱 다양해질 수 있음을 알 수 있었다. 시대와 상황의 변화, 다양한 연출에 호응하는 수준 있는 무대의상을 위해서는 문화와 예술과 사회적 배경을 이해할 수 있는 인문학적 소양이 필수적이다. 이러한 소양을 바탕으로 감각적인 디자인 능력과 작품에 대한 이해, 등장인물에 대한 다양한 분석을 통해 무대 위에서 작품의 내용과 연출의 의도를 잘 표현할 수 있는 무대의상이 필요한 것이다. 우리나라 공연예술의 발전, 오페라의 발전을 위해서는 수준 있는 무대의상에 대한 많은 관심이 필요한 시점임을 확인할 수 있었다.

“미디어 어린이 영어뮤지컬 마술피리” 무대의상 디자인

이지혜(Ji Hye Lee),김양희(Yang Hee Kim) 한국복식학회 2014 服飾 Vol.64 No.7

Performing arts offer fun and knowledge and are directed for various purposes. Performing arts are also used as a means for education. Children`s English media musical, “The Magic Flute” is the performance reflecting all these. The author of this study took part in stage costume production, and this study was carried out aiming at designing and producing stage costume in line with educational purpose and intention. This study consists of an analysis stage for the existing performances of “The Magic Flute”, and a stage costume design and production stage for children`s English media musical, “The Magic Flute”, First, this study classified and analyzed the stage design and stage costume design of the existing “The Magic Flute” by concept, and then, examined their features, respectively. and this study unfolded the stage costume concept, based on the analyses of existing performance`s stage costume and the characters` personality and features described in the current study subject”s script. As the last step of this study made each character”s stage costume. A total of 69 costumes for stage costume were made for 7 types of characters. This study is considered to have huge significance in that the stage costume was developed for “The Magic Flute”.

연극 “피카소의 여인들”의 무대 의상 제작 시스템에 관한 연구

김영삼 ( Young Sam Kim ) 복식문화학회 2011 服飾文化硏究 Vol.19 No.1

Today, a variety performance premiered in Korea, works of art as an advanced production planning and production system is becoming. Accordingly, the field of stage costume also increased collaboration with foreign producers and production systems and the advancement of the stage costume are required are becoming. The opening performance of the 30th anniversary of the Seoul Theater Festival was selected as Towol Theater Theater in 2009, April 16 to 26 of Picasso`s women`s costume is the study of production systems. This work directing and stage design by inviting domestic producers from foreign fields, and co-authored the work in the field of stage costumes in collaboration with foreign producers that are worth study and research work. In this study, this work has a practical study of costumes throughout the production system, an advanced stage costumes to contribute to the development of the field. The research methodology book data, collected papers, Internet resources through research and theoretical studies play ``Picasso`s women`s stage production of the award total to an empirical study was undertaken. The results of this study are as follows. First, the costume director for making a scholarly grasp of the direction of the investigation is ongoing throughout the process of creating the costumes. Second, foreign producers and co-author of the stage when the award, if other than purely domestic producers and create costumes to build production systems. Third, foreign producers and co-costume design and costume making coherent explanation for the processing of the list(Costume Breakdown List) are developed. Fourth, the actual performance over the director`s intention to visualize the presentation was good enough, and the idea of the costume crew was taken to the director`s idea of directing a play that reflected the will has a big meaning.

창조적 무대의상디자인을 위한 표면 표현기법 연구

장혜숙 ( Jang Hye Sug ) 한국연극학회 2003 한국연극학 Vol.0 No.21

It is necessary to develop the various techniques and materials in the area of stage art with the change of new expression in the art. Stage costume is one of visual art forms to express a play through the actors. Stage costume is a moving scenery and is to be center of all dramatic acting. It also appeals personality and emotion of an actor as an essential element of visual scene and is strongly focused from the audience. Costume designers need to know aesthetic value about materials, surface textures and lighting to design effective stage costumes so that they are mixing and using various materials and techniques as a way of revealing visual vocabulary and motion of the play. Every surface has it`s own texture. The surface texture expresses a mood of the play and supports color, line and psychological effect of the stage costume. Especially, it represents character, status, personality, situation, and seasons of the play. Therefore, the texture of stage costume is so important that it should be considered sincerely during design and construction processes. In this research, I`d like to show surface modifications for creative stage costumes using new and mixed expression techniques that would be used before. Two plays, (Tempest) and (A midsummer night`s dream) of Shakespeare have been chosen to show the surface expression techniques. Some characters in the plays are selected and their miniatures and costumes are designed and constructed. I made a contrast concept between two fantasy worlds, Prospero`s world and Oberon`s world, to prove the validity of the techniques. Specially, I highlighted texture changes under the various stage lighting positions. Furthermore, I expanded the work area to textile art for seeking the possibility of new expression method of stage costume. Many photograph resources were suggested for the design and construction processes. Also different photo angles were depicted to show the texture changes under the various stage lights. In conclusion, the research on expression techniques for the surface and the texture is not only the expansion of good visual quality of stage costumes but also the development of higher value of performing art.

국내 무대의상 제작시스템 방법론 정립에 관한 연구

김영삼(Young Sam Kim) 한국복식학회 2012 服飾 Vol.62 No.4

Ever since the year 2000, Korea`s musical markets has invited famous overseas license performances and have therefore cooperated with staffs working overseas in regards to stage costumes. This study aims to suggest the methodology of the stage costume making process according to the present advanced production system of Korea`s musical market, The researcher participated in the stage costume making work of ``Chicago`` as a costume supervisor, It took place at the Opera House of Seongnam Art Center from January 10, 2010 to February 28, 2010. Furthermore, there was significance in reinforcing academic values and implementing practical making process of stage-costumes based on the actual field work. The method of this research was carried out through a theoretical research and a case study that focused on empirical research. As for the research scope, it was limited to the actual stage-costumes that the researcher fully engaged with as a costume supervisor of the musical ``Chicago.`` The results of this study were as follows. The stage costume making process of the musical ``Chicago`` was categorized according to the classification of production system in the performance. For pre-production,1)it was divided according to the information of the actor and the analysis of the bible. Rehearsal period was divided according to the product clothes and fitting. Production week & preview were divided according to the changeover of clothes and the arrangement of dressers. The Run was divided according to the inspection of the situation concerning clothes in general during the performance. Post-Production Period was divided according to the collection of clothes and the implemented database. This study eventually suggested appropriate stage-costume making processes for the costumes making environment according to the expansion of overseas license musical market. However, it has a limitation of the research scope to the musical ``Chicago.`` The creative performances of the domestic version are planned in diverse forms and come to abroad animate by the Korean Wave. Therefore, the field of stage-costume is necessary for the establishment of practical schemes of the system and copyright in accordance with the environment.

CAD System을 활용한 무대의상 시뮬레이션에 관한 연구

박유신 ( You Shin Park ),최영로 ( Young Ro Choi ) 한국패션비즈니스학회 2013 패션 비즈니스 Vol.17 No.1

The purpose of this study is to demonstrate the stage costumes realized by digital clothing: how realistic and accurate representation of empirical testing and in the consultation process for the production stage costumes, determine whether digital clothing has value that can be substituted for the stage costume. This study researched the stage costume manufacture, Isabel`s costume of the musical ``Christmas Carol``, process by using the 3-D clothing simulation technology: DC Suite, The results of this study is as following. They share many similarities between the stage costumes and digital clothing. It is possible that digital clothing takes a role as a substitute for stage costumes in the production process of the clothing samples. The clothing production system, including stage costumes, by digital clothing costs and lead time can be saved by innovative. Also the result can be saved without restriction, and this system can exert its effect in a very efficient way to incorporation of foreign producers and production system.

현대 오페라 ‘해변의 아인슈타인’의 무대의상에 관한 연구

유명의 한국일러스아트학회 2016 조형미디어학 Vol.19 No.2

Modern opera "Einstein on the beach" was first performed at the Avignon Festival in France in 1976. After about 40 years later, this opera was performed as opening program of AAT(Asian Arts Theatre) in Gwangju, South Korea. Opera "Einstein on the beach" can be described as a very meaningful work as prescribed season program to celebrate the opening of the Asian Art Theatre. This study intended to research on the stage costumes of the modern opera "Einstein on the beach" shown in Asian Arts Theatre of Gwangju in 2015. First, it was investigated on theoretical information and artists on the opera "Einstein on the beach". And also investigated historical background of the 1970s fashion trends. Take the social issues were in the 1970s, and their influence was noted that changes in fashion trends of the 1970s. In particular, it were investigated 'baggy pants' and its symbolism on the stage the opera "Einstein on the beach" process. Based on the theoretical consideration, it was studied the symbolism and distinctive expression of the "Einstein on the beach" stage costume and summarized the meaning of the opera "Einstein on the beach" stage costume. On the stage of opera "Einstein on the beach", symbolic characteristics were well reflected. And there was a trend of fashion trends can be also see minimalism. Especially at the time, influenced by the emergence of the concept of gender equality, unisex style can be seen that this fashion trend is also reflected the stage costumes. It could be confirmed the adoption costumes of historical eclecticism. This production, "Einstein on the beach : world tour from 2012 to 2015", would be forever discard after the last stage of Gwangju. Therefore, the results of this study are considered to make the data meaningful to the stage production, including the future of stage costumes planning. 현대오페라 ‘해변의 아인슈타인’은 1976년 프랑스의 아비뇽음악제에서 처음 공연되었고 그로부터 약 40년 후에 국립아시아문화전당 개막공연으로 한국의 광주를 찾았다. 아시아문화중심도시로 거듭나고자 하는 지역의 열망을 담아 예술극장의 개관을 기념하는 시즌프로그램으로 선정된 매우 의미 있는 작품이라고 할 수 있다. 본 연구는 2015년 광주 아시아 예술극장에서의 오페라 ‘해변의 아인슈타인’이 보여준 무대의상에 대하여 연구하고자 한 것이다. 우선 오페라 ‘해변의 아인슈타인’을 만든 예술가들과 오페라 전반에 관한 내용 및 1970년대 당시의 시대적 배경과 패션 트렌드에 대하여 고찰하였다. 1970년대에 있었던 사회적인 이슈들과 이들의 영향을 받아 변화했던 1970년대의 패션 트렌드에 주목하였고 특히 오페라 ‘해변의 아인슈타인’의 전 4막이 진행되는 동안 무대에 계속 등장하였던 ‘배기팬츠(baggy pants)’와 그 상징성에 대하여도 고찰하였다. 이와 같은 이론적 고찰을 바탕으로 오페라 ‘해변의 아인슈타인’ 무대의상의 특징적인 표현들을 조사 연구하여 오페라 ‘해변의 아인슈타인’ 무대의상의 의미를 정리하였다. 오페라 ‘해변의 아인슈타인’에서는 1970년대 당시의 상징주의적 특성(symbolic characteristics)이 잘 반영되었고, 당시 대세였던 미니멀리즘(minimalism)의 패션 트렌드도 확인할 수 있었다. 또 당시에는 여성의 사회진출이 활발해지면서 등장한 양성평등의 개념에 영향을 받아 유니섹스 스타일(unisex style)이 유행하였는데 이러한 패션 트렌드 또한 무대의상에 그대로 반영되었음을 알 수 있었다. 전 막을 통하여 역사적 절충주의(historic eclectism)의 무대의상을 채택하였음도 확인할 수 있었다. 2012년부터 2015년까지 월드투어를 진행하면서 광주의 마지막 무대를 끝으로 영원히 폐기된다는 상황에서의 본 연구 결과는 앞으로의 오페라 무대의상 기획 및 무대 연출에 의미 있는 자료가 될 수 있을 것으로 사료된다.

Peirce의 이론을 응용한 무대의상의 기호학적 해석 - 뮤지컬 명성황후를 중심으로 -

안미화,장애란 한국생활과학회 2019 한국생활과학회지 Vol.28 No.2

Stage costume is a tool used to convey the meaning of certain works in their visual representation of what is implied in the works. Thus, the inculcation of the tool in visual arts is to emphasize and dramatize the aura, style, and theme of those works. In other words, it provides a conduit of communication between the audience and the producer. This study aims to show the significance of stage costumes in mediating communication through semiotic interpretation of the visual manifestation. I utilized Peirce’s three categories of signs (icon, index, and symbol), a theory apt to analyze semiotic interpretations of stage costumes. In addition, I chose to use Empress Myeong-Seong, South Korea’s representative musical as my object of analysis. Empress Myeong-Seong was debuted in 1995 and has been performing on domestic and international stages for a long time. The interpretation of the semiotic results of Empress Myeong-Seong’s stage costumes analyzed through the lenses of Peirce’s theory, are as follows:iconic sign (contemporary reinterpretations and restorative representations of the stage costumes), indexical sign (the structuring of the signs conveying and representing the meaning behind the stage costumes), and symbolic sign (elegance, sublimity, and tragic ). In this study, the use of sign in the semiotic analysis of Empress Myeong-Seong’s stage costumes offers a useful framework that facilitate visual communication. 무대의상이란 관객들에게 작품의 의미전달을 위한 방법으로 작품에 함축된 내면적 의미와 요소들의 형상화를 통해 인물창조 및 극의 분위기, 스타일, 주제를 강화 시키고 극적 효과를 표현한 일종의 시각적 예술이라 할 수 있다. 즉, 무대의상이 갖추어야 할 조건은 극을 보는 관객과 연출자 사이의 의미전달을 위한 커뮤니케이션의 수단이어야 한다. 이에 본 연구에서는 무대의상의 시각적인 형상을 통해 커뮤니케이션의 역할을 할 수 있음을 기호적 해석을 통해 무대의상도 일종의 기호임을 규명하기 위함이다. 이를 위해 여러 기호학 이론 중에 무대의상의 기호적 해석에 적합한 Peirce의 삼분법(iconic sign, indexical sign, symbolic sign)을 차용하였다. 이를 규명하기 위해 1995년 초연을 시작으로 현재까지 활발히 국내·외 무대에 오르고 있는 한국 대표 창작뮤지컬 명성황후를 선택하였다. 뮤지컬 명성황후 무대의상을 Peirce의 삼분법을 차용한 기호적 해석의 결과는 도상기호(현대적 재해석과 고증적 재현의 무대의상), 지표기호(무대의상의 의미를 전달 ⋅표현하는 기호의 언어 구조화), 상징기호(엘레강스, 숭고, 비장)로 도출하였다. 본 연구에서는 뮤지컬 명성황후 무대의상의 기호적 해석을 통해 무대의상은 커뮤니케이션 작용을 지닌 기호임을 규명함으로써 기호적 측면에서 무대의상의 시각적 커뮤니케이션 해석의 분석 틀을 제시하였다는데 의미를 부여할 수 있다.

오페라 마농 레스코(Manon Lescaut)의 무대의상 디자인 비교연구

양수미(Su Mi Yang),권미정(Mi Jeong Kwon) 한국복식학회 2013 服飾 Vol.63 No.1

As performing arts including operas are getting popular these days, the importance of stage costumes is strengthened. Stage costume is one of the artistic requisites for opera performance, it plays an important role in describing the play`s situation, the director`s style and the person`s character. Nevertheless the study regarding the opera`s costumes is not active, especially the comparative study on the same opera`s costumes performed by different opera companies have hardly been made. Therefore this study compared 5 Manon Lescaut opera performances: the Metropo-litan Opera(1980), the Flemish Opera(1991), the Metropolitan Opera(2008), the Seoul Metropoli-tan Opera(2010) and the Vienna State Opera(2010) and made clear the difference between the four. From this study, we can get the following conclusions. First, the Metropolitan Opera`s costumes in 1980 act and in 2008 act ascertained Rococo dressing. Because the costume designer for both acts was the same person, the general costume styles of the two acts are similar. Second, as for the Flemish Opera and Seoul Metropolitan Opera, there was a significant drop in fancy details and trimmings in the costumes. But the costumes made strong impressions dues to its color and luminosity contrast. Third, Vienna State Opera costumes had the boldest designs and it reflected modern designs as well. This study is meaningful in that it is based on the comparison study on the same opera stage costumes designed by different directors. Afterward this study is expected to contribute toward study on opera stage costumes and stage costume`s development.