도시재생을 위한 주민참여형 설계도구 개발에 관한 기초 연구

김우도(Kim Woo-Do),김미연(Kim Mi-Yun),최진원(Choi Jin-Won) 대한건축학회 2008 대한건축학회 학술발표대회 논문집 - 계획계/구조계 Vol.28 No.1(계획계)

Sustainable development is thing to do present and future urbanity of residents agreeable in various field. Modern society is driving active Citizen participation for sustainable development in urban regeneration field. Although Various method had been proposed to lead citizens' participation in urban generation field, citizens' participation methods that is enforced present are displaying much limitations. Therefore, necessity of design tool development for citizens' participation that can participate easily improving existent passive citizens' participation is risen. In this research, investigate of what method existent citizens' participation to achieve concept and this of urban regeneration had consisted, and examine about functions that a design tool for citizens' participation must have. Through this research, a proposed inhabitants participation type design tool may become basic study necessary to develop a design tool for active citizens' participation.

이윤택의 연극적 문법에 관한 고찰 -<문제적 인간 연산>과 <시골 선비 조남명>을 중심으로-

김미도 ( Mi Do Kim ) 한국연극학회 2012 한국연극학 Vol.1 No.46

This essay intends to investigate specifically Lee Yun-Taek`s theatrical grammar focusing on "Problematic Human Yeoun-San" and "Rural Scholar Jo Nam-Myeong" which both similarly deal with historical figures. It is seen from two plays stated above that Lee Yun-Taek makes good use of daring compression and omission for the configuration of each scene. This can be possible thanks to his ability to use images. He devices a method of imprinting by a symbolic image instead telling a long tale. We can find that the most surreal technique in his plays is ``Goot``, therefore, we can see, in "Problematic Human Yeoun-San", he leads to a Goot-Pan(ritual) at the moment of heightened conflict and fighting, and he leads to reveal the critical secret through ``Bing Ue (Possesion by a spirit)``. Also, in the "Rural Scholar Jo Nam-Myeong", the surreal element is directed through the dead spirits who were sacrificed at Uelsa-Sawha(a massacre of scholars caused by party strifes in 1545, during Myungjong`s term of office in Josun Dynasty). By having the main characters perform the commentator`s role or through singing and dancing in the chor us, Lee Yun-Taek actively uses ``Alienation Effect``. Sometimes, the author`s voice directs the main character to act in a specific way. Also, Lee uses cruelty drama elements and would rather require the very strong commitment. In the two works, the musical elements are very important, especially when a brutal scene is directed, fast rhythm of the percussion or sound effects pulls extremely up the terrifying feelings. Musical elements contributes to the ritualistic effect. His directing techniques of cruelty can be called ``a shock therapy`` which suddenly calls the audience dull to the reality awake in the respect that he shakes away the audiences`s reason and senses by mixing the alienation effects of the epic and the ecstasy of cruelty play exquisitely. His stage-setting mostly pursues symbolism-given formation rather realistic formation. His lines have basically enlivened our traditional rhyme and, further, in many parts, are delivered through poems and songs. The magical language he uses in the ``Goot`` has been borrowed from the ``Mooga(Shaman Verse)`` but all has been remade by him in a fun way and in an exciting way. He aims for the form-oriented performance in terms of acting. Actor`s voices are poetically enhanced and the movements are largely exaggerated. Even, he sometimes makes use of Marionette-like acting. In the highly stylised directing technique like his, we can see that the abundant visual and auditory images are naturally enhanced and the spectacular elements appears with the most richness. This is because his drama is dreaming of the same state as the poem. The more his drama gets experienced, the more his drama goes for the play abundant with ritual elements, or ``the ritual play`` itself. He embraced the right mix of epic and the cruelty, which it corresponds with the stylistic features of ``goot`` which is the origin of our traditional play. We cannot deny that ``goot`` implies the great dramatic techniques which had achieved an ecstasy through a repeat of tension and relaxation with the audience.

한국 현대희곡에 나타난 굿의 연극성

김미도(Mi Do Kim) 한국연극학회 1997 한국연극학 Vol.9 No.1

Kut is the most ancient and ariginal form of Korean theatre. This study aimes at illustrating that the shamanistic theatre in Korea is not a museum item but an active source of inspiration as a rich theatrical heritage. Lee Hyun-hwa`s Sansitkim(Purification for the Alive, 1981) is a play about a modern ritual seeking for eternal life by eliminating mundane impurity through purification rites for the alive, not the dead. The Woman in the play is reborn as a new human being after her spiritual experience of death in encountering a series of hardships. It is a kind of initiation ritual. In this play the audience can experience a certain kind of ecstasy and spiritual purification in the process of ritual, even though they actually do not believe in the spiritual power of the shaman. Lee youn-taek`s Ogu-Jukumui Hyungshik(Ogu-A Form of Death, 1988) deals with sacrificial rites for the dead and has plentiful ritual elements in it. It emphasizes, however, not the sacred aspect of Kut or rites but the significance of its playfulness and the people enjoying it. The Kut in Korea may easily be constructed as an activity supplication for the welfare after death. In reality it is the rites praying for beattitude of the people living here and now. The play takes rituals as something routine and at the same time elevates the routine to the level of theatre. In short, Ogu-A Form of Death intends to show us a turmoil or feast of life packed with vitality. Oh Tae-suk`s Baekmakang Dalbamae(In the Moonlight at the Baekma River, 1993) presents exquisite mixture of this world and the other world, or reality and history, crossing freely over the barrier of the time and space in the process of Pyulshin Kut which tries to console vengeful sprits at the time of downfall of Baekjae Dynasty. It materializes visually the traditional Korean thinking that the lives of this world and the other world and the lives of the past and the present are not divided but exist together in the eternal continum of life. The play effectively employs the alternation of tension and release, a traditional technique resorted generously to in the Korean traditional performing arts including Kut. By deconstructing and rearranging the history of the downfall period of the Baekjae Dynasty, the play succeeds in transcending the grudge of internecine feud to composite rituals for reconciliation and blessing. The Kut does not have much significance as religious rites to the modern Koreans any more, but it exerts much influence on the arts and theatre of today. It is true that the Kut itself has been waning, but instead it has become a very important subject for today`s theatre with the substance and playfulness it has adhered to. The form of play, excitiment, and ecstasy existing in the Kut can be effectively employed for the mpdem drama which seeks for positive interchange and participation of the audience. The Kut which used to restore broken order of Nature and to reconcilliate peace between man and God can function as a momentum to instill healthy life power into the highly civilized society of today which is maimed in spirit because of extreme materialism.

윤대성 희곡의 전통 수용 양상

김미도 ( Mi Do Kim ) 한국연극학회 2006 한국연극학 Vol.0 No.29

This essay examines Yoon Daeseong, whose achievements of tradition acceptance have not been taken account into synthetically, in spite that he was the frist accepter of our tradition in Korean Drama Society. His initial interests among Tradition Drama go for Talchum (masked dance). Firstly, "Mangnani (Headsman)" uses `No-seung (Old Monk)`, a main character of Talchum both as a narrator and as an observer and as a role who opens and closes the play inside the play. Besides, he utilizes a technique of Tradition Drama for a play in play of transformation through Tal (Mask), a play in play in play that soeddugi·somu·podobujang appear and traditional music and utilization of chum (dance) action. However, transformation play in play, that fills with the most part of the play, rather follows logical and causal development of western play and also it is close to realism in respect of play form. Secondly, "Nobi Document" has an advanced aspect in diffusing widely the technique of Tradition Drama. No-seung and Chwibari, who have been borrowed from Tradition Drama, function as having their own apparent roles in the play development. Expecially, Chwibari represents as a character satirizing ruling class`s hypocrisy and deceit in the same way he acts in Tradition Drama. On the other hand, Epic Theatre-like compromise through chorus can be said that the writer made use of similarity between our Tradition Drama and Epic Theatre. However, in the story development, the play`s concrete melodramatic structure and the excessive romantic emotion make its critical role against society and reality weaker itself. Thirdly, "You Get Away with this Bite", that modernized Jangdaejangne -Goot inherited in the district of Hwanghae area, caustically satirizes contradiction and absurdity of Modern Society and also admitted tradition drama technique in full scale though. That Saseol Gwangdae and the blind, Pansoo`s crossing freely, causes isolation effect also naturally and compliments the spectator`s spontaneous critique and commitment. In respect of stage, by effectively using the concept of the open stage and the empty space, he produces a creative stage full of imagination. Also, in respect of dialogue. by mainly using Aniri-jo and Jeadam-jo, he reinvigorates traditional rhyme and rhythm our language has. Lastly, "Sky of Namsadang-Pae" focuses on reproducing Namsadang-Pae`s artistic spirits and their life style and their inherited play through exhibiting Baudeogi`s dramatic lives who has been told as acting as a main character of Namsadang-Pae. The writer reveals naturally their life style through the roles of Ggokdoosoe or Gombaengisoe, and inserts universally in his work Poongmul, Beona, Salpan, Eoreum, Deotboegi which are inherited plays of Namsadang-Pae. However, one thing lacks through the whole play is that it fails to embody Baudoegi as Ggokdoosoe persuasively by inputting an excessive melodramatic emotion into her love affairs. With all these above in mind, it is concluded that Yoon Daeseong`s tradition acceptance flourishes mainly in 1970`s, and we could see that he produced the most remarkable achievement in "You Get Away with this Bite". What should be pointed out as his limitation are the collision of traditional style and western style and the intervention of the excessive melodramatic emotion which are exposed in other plays. However, I insist that he should be properly evaluated as a pioneer writer who agonized the fact of tradition acceptance in the history of our modern drama.

시판되는 구강양치액과 천연한방 추출물의 Streptococcus mutans에 대한 항균효과 비교

김성임 ( Sung Im Kim ),정문진 ( Moon Jin Jeong ),안용순 ( Yong Soon Ahn ),김아름 ( A Reum Kim ),김미나 ( Mi Na Kim ),임도선 ( Do Seon Lim ) 한국치위생과학회 2015 치위생과학회지 Vol.15 No.3

This study attempted to identify the possibility of natural herbal extracts as an alternative, preventive agent of caries by comparing antimicrobial activities between natural herbal extracts and mouth rinsing solutions against Streptococcus mutans. Natural herbal plants were extracted with distilled water and ethanol, respectively, to measure the minimum growth inhibitory concentration of S. mutans depending on concentration, and among which, solvents showing high antimicrobial activity were selected to compare their antibiotic effects with those of mouth rinsing solutions. Also, to determine the concentration of natural medicinal herbs that can be used safely in the oral cavity, the extracts were treated to the normal gingival fibroblast cells depending on concentration in order to determine its cytotoxicity using MTT. In terms of the minimum growth inhibition concentration, the growth inhibition of S. mutans was more excellent in the ethanol extract than in the distilled water. When the minimum growth inhibition concentration was compared, Psoralea corylifolia of natural herbal ethanol extracts, and Hexamedine (Bukwang Pharm., Korea) of mouth rinsing solutions inhibited growth of S. mutans at the lowest concentration. When the minimum bactericidal concentration was compared, P. corylifolia of natural herbal extracts, and Hexamedine and Garglin (Dong-A Pharm., Korea) of mouth rinsing solutions eliminated S. mutans at a low concentration. The human gingival fibroblast was treated with natural herbal ethanol extracts at the minimum growth inhibition concentration of 10, 39, and 78 꺷g/ml. As the result, no cytotoxicity was found. When this was treated at different minimum bactericidal concentrations, natural herbal ethanol extracts showed cytotoxicity except P. corylifolia.

한국 대중가요 선호이유에 따른 한류문화관광상품이 한국 국가이미지와 한국방문의향에 미치는 영향연구

김미주(Kim Mi-Ju),김성섭(Kim Seong-Seop),박제온(Park Jae-On),김도윤(Kim Do-Yun) 한국관광레저학회 2010 관광레저연구 Vol.22 No.5

다중흐름모형을 활용한 산림일자리정책 변화과정 분석

김명관 ( Myeong Gwan Kim ),김주미 ( Ju Mi Kim ),오도교 ( Do Kyo Oh ),태유리 ( Yoolee Tae ),장주연 ( Chuyoun Chang ),김재현 ( Jae Hyun Kim ) 한국산림경제학회 2022 산림경제연구 Vol.29 No.2

산림일자리는 노동집약적 특성과 함께 서비스 산업 등 다양한 형태의 일자리가 창출될 수 있는 잠재력이 큰 분야이다. 본 연구는 일자리 문제가 이슈화된 외환위기 시대의 김대중 정부에서 문재인 정부에 이르기까지 산림일자리정책이 역사적으로 어떠한 변동과정을 거쳐 산출되었는지, 시대적 상황에서 어떠한 역할과 성과를 창출해 냈는지를 Kingdon의 다중흐름모형을 활용하여 분석하였다. 그 결과, 첫째, IMF 외환위기, 경제위기, 코로나19 팬데믹이 정책결정자로 하여금 일자리문제를 해결해야 할 문제로 인식하게 한 주요 요인이 되었다. 둘째, 정책혁신가로서 역할을 한 주체는 산림청과 시민사회, 학계가 각 정권별로 주도를 달리했다. 셋째, 산출된 정책은 시대적 변화에 따라 정책혁신가의 개입으로 다시 보완, 개선되어 한단계 상향된 버전의 정책으로 재산출 되었다. 그 결과 정책의 창이 열렸고 산림복지, 휴양, 교육 등의 산림복지서비스 일자리가 확대되었고, 산림분야 사회적경제 활성화를 통해 지역과 연계된 새로운 일자리가 창출되었다. 결론적으로 산림정책이 산촌과 지역의 문제를 해결하고 이를 통해 지역의 활력을 도모하며, 실질적인 도움을 주기 위해서는 시민사회와 파트너십을 통한 사회적 가치를 추구하는 산림일자리정책이 운영되어야 한다. 이상의 내용을 바탕으로 향후 산림일자리정책의 효율성과 성과를 높이기 위한 정책 제언을 하였다. Forest job is a field with great potential to create various types of jobs, such as service industries, along with labor-intensive characteristics. This study analyzed how Korean forest job policy has been changed historicaly and edtablished, and what kind of roles and achievements have been created from the Kim Dae-jung administration when foreign exchange crisis and the job issue occurred, to the Moon Jae-in administration using Kingdon’s Multiple Streams Framework. The study results are as follows. First, the IMF foreign exchange crisis, the economic crisis, and the COVID-19 pandemic became a major factor that made policy makers recognize the job issue as a problem to be solved. Second, the Korea Forest Service, civil society, and academia which played as role as policy innovators was different byeach government. Third, the established policy was supplemented and improved again with the intervention of a policy innovator according to the changes of the times, and it was re-produced as an upgraded version of the policy. As a result, a window of policy was opened, and jobs in forest welfare services such as forest recreation, and education were expanded, and new jobs linked to the region were created through the revitalization of the social economy in the forest sector. In conclusion, in order for forest polices to solve problems in mountain villages and regions, promote regional vitality, and provide practical help, forest job policies which pursue social values through partnerships with civic groups should be operated. Based on the above, policy recommendations were made to improve the efficiency and performance of future forest job policies.

멸종위기종 붉은점모시나비(Parnassius bremeri )의 메타개체군 구조와 이주

김도성,박두상,권용정,서상재,김창환,박성준,김동혁,김진서,유혜미,황종석,Kim, Do-Sung,Park, Doo-Sang,Kwon, Yong-Jung,Suh, Sang-Jae,Kim, Chang-Hwan,Park, Seong-Joon,Kim, Dong-Hyuk,Kim, Jin-Seo,Yu, Hye-Mi,Hwang, Jong-Seok 한국응용곤충학회 2011 한국응용곤충학회지 Vol.50 No.2

메타개체군의 구조와 이주에 관한 이해는 종 보존을 위해서 필요하다. 본 연구는 붉은점모시나비 서식지에서 MRR 방법으로 나비의 이주패턴을 분석하고 패치연결성을 추정하였다. 그 결과 194(수컷: 137, 암컷: 57)개체가 포획 되었으며 이중 93 (수컷: 73, 암컷: 20)개체가 재포획되었다. 이주 분석에서 이입율은 23-150%, 이출율은 28-53%으로 나타났다. 패치면적과 이입 이출 개체수와의 회귀분석에서는 상관관계를 보이지 않았으며, 먹이식물 수와 이입 이출 개체수와의 회귀분석에서도 상관관계를 보이지 않았다. 그러나 이입 개체수와 패치간 거리와의 분석에서는 높은 상관관계를 보였다. 따라서 나비의 이주는 패치거리가 가까울수록 빈번하게 일어나고 있으나 패치의 면적이나 먹이식물 량과 관계가 없는 것으로 나타났다. 나비의 이주에서 암컷보다 수컷이 매우 활발한 것으로 나타났다. 패치의 위치에 따른 이주 패턴의 분석 결과 패치 네트워크상에서 중앙에 위치한 패치가 양쪽 끝에 위치한 개체군을 이어주는 역할을 하고 있으며 근접한 거리에 있는 패치들간 이주가 멀리 떨어진 패치에 비해 빈번한 이주가 일어나는 것을 보여주었다. 따라서 붉은점모시나비의 이주에 있어서 근거리에 위치한 패치들간 교류가 활발히 일어나고 있으며 패치와 패치를 이어주는 징검다리 역할을 하는 패치가 존재할 경우 교류가 더 활성화된다는 것을 제시하고 있다. Understanding the metapopulation structure and movement of a species are required for conserving the species. In this paper, migration patterns and connectivity of patches of a threatened butterfly, Parnassius bremeri Bremer, were postulated using the mark-release-recapture (MRR) technique in a habitat located in the mid-southern region of the Korean peninsula. A total of 194 individuals were captured (137 males and 57 females) and, of them, 93 individuals (73 males and 20 females) were recaptured during the MRR experiment. The migration analysis showed 23-150% immigration and 28-53% emigration. There were high correlations between the migrating individuals and the distance between patches, but there was no correlation between migrating individuals and patch size or between migrating individuals and the number of host plants. Consequently, the migration of butterflies occurred frequently between closer patches, while patch size and quantity of the food plant had minor effects on migration behavior. Additionally, males migrated more frequently than females. Analysis of the migration patterns of P. bremeri showed that the central patch played an important role on linking patch groups and more frequent migrations were monitored between nearby patches than between the remote patches. This study suggested that active migrations take place between the neighboring multiple patches and these are accelerated if there is a stepping-stone patch between them.

삼국유사 소재 오태석 초기 희곡 연구 - <여왕과 기승>을 중심으로

김미도 ( Kim Mi Do ) 한국연극학회 2016 한국연극학 Vol.1 No.60

한국연극사에서 오태석은 전통적인 연극기법을 현대적으로 가장 잘 계승하고 창조적으로 변용한 작가 겸 연출가이다. 흔히 오태석이 전통에 대한 적극적인 관심을 드러낸 계기는 <쇠뚝이 놀이>(1972)로부터 논의되곤 한다. 이후 <초분>을 거쳐 <태>에 이르러 한국적 양식에 기반한 한국적 연극의 창조라는 확실한 방향성을 설정하였다는 것이다. 그러나 1969년에 발표했던 <여왕(女王)과 기승(寄僧)>에 각별히 주목할 필요가 있다. <여왕과 기승>이 『삼국유사』 소재 설화를 바탕으로 하고 있다는 점에서 오태석의 전통 회귀는 『삼국유사』로부터 출발했다고 볼 수 있다. <여왕과 기승>은 오태석이 전통으로 회귀한 첫 번째 작품이자 설화와 역사에 천착한 첫 작품이라는 점에서도 그 의의가 매우 크다. 이 작품에 나타난 설화에 대한 재해석과 변용, 전통적 극작술, 역사를 재조명하는 시각 등은 이후 오태석의 `한국적` 연극 창조에 대한 중요한 단서들을 제공해준다. <여왕과 기승>에 동원된 『삼국유사』의 주요설화는 흔히 `심화요탑`으로 알려진 `지귀`에 관한 설화, 기이한 행적을 많이 남긴 승려 혜공에 관한 설화, 그리고 앞일을 3가지나 미리 예측한 선덕여왕에 관한 설화 등이다. <여왕과 기승>에서 혜공, 지귀, 세어녀, 성왕, 염종 등은 이승과 저승을 자유롭게 넘나든다. 이승과 저승을 자유롭게 왕래하는 설정은 오태석의 다른 작품들에서도 자주 나타난다. 특히 <백마강 달밤에>에서 현실세계로부터 명부 세계로 자유롭게 건너가는 인물은 무당 `순단`이다. 오태석은 “이승과 저승을 넘나들며 만나고 싶은 사람들을 다 만나볼 수 있는 이런 의식이 끊어진다면 굉장히 답답한 일”이라고 생각한다. 오태석의 작품들에는 귀신이 자주 등장하며 그 귀신들은 곧잘 `호국영령`의 의미를 지닌다. <여왕과 기승>에서는 백제 성왕이 그런 인물이고, <백마강 달밤에>에서는 백제 의자왕, 계백, 성충 등이 그러하다. <도라지>에서도 암살당한 김옥균이 마지막에 다시 귀신으로 나타난다. <여왕과 기승>에서 세어녀는 지상의 인간이 아니라 하늘로부터 내려온 인물이다. 천상의 인물이 지상으로 내려와 선덕여왕을 반란으로부터 지켜내는 역할을 수행한다. 선덕여왕은 앞일까지 미리 내다보는 영험한 군주이다. 오태석이 설화를 소재로 창작한 첫 작품에서 이처럼 강력한 여성들을 등장시킨 점도 흥미롭다. 오태석은 <춘풍의 처> <태> 등의 작품에서도 우리 민족의 탯줄을 튼튼하게 이어온 강인한 여성상을 부각시켜 왔다. <여왕과 기승>은 오태석이 전통으로 회귀하여 가장 한국적이면서도 현대적인 연극을 창조한 첫 번째 결실로서 이후 오태석 특유의 극작술을 해명하는 중요한 열쇠가 된다. In Korean history of theatre, Oh Tae Suk is located as one of the remarkable playwrights/directors who not only deeply inherits traditional theatrical heritage but also adapts it with creative contemporariness. It is commonly regarded that Oh has started paying serious attention to the tradition since the Playing of Soeutouki staged in 1972. Also in later texts such as Choboob and Tae, we can agree to say that he has achieved to develop his unique Koreaness based on the traditional style. Still, we need to look at the Queen and the Weird Monk based on a folktale of Samkookyusa in 1969 with regard to approach him from this point of view. It is necessary to point out that his return to tradition stems from Samkookyusa. In this sense, the Queen and the Weird Monk has some significant meanings: It is recorded as his first text leaning on the tradition. It is also his first text trying to adapt from a folktale or history. By studying how it interprets and adapts the folktale, how it applies the traditional dramaturgy, and how it explores history from a different point of view, we could be able to come up some important clues to examine his unique Koreaness in theatre. The adapted folktale in the Queen and the Weird Monk are like below: Jigwi narrative(commonly saying Sim-hwa-yo-tap), narrative of an eccentric Monk Hye-Gong, the queen Sunduk who is gifted to foresee three events in near future. The characters Hye-Gong, Jigwi, Seonyo, the king Seong, Yeomjong are the ones who cross over between this world and other world. The theme sort of this reinless come-and-go between two separate worlds is often used in Oh`s texts. For example, the shaman character Soondan in Baengmagang Dalbame also takes a journey from the real life to the next world. Oh says, “I would feel so suffocated if I imagined that there is a limit between two worlds, bothering to meet the precious. I would dye to see them.” Spirits are commonly staged in his texts as well. And they often have an identity as a spirit of defense of the fatherland. The king Seong in the Queen and the Weird Monk, and King Uija, Kyebaek and Seongchoong in Baengmagang Dalbame can be mentioned in this category. Plus, the assassinated Kim Ok-Gyun in Doraji also calls to stage as a spirit. By the way, the character Seonyo in the Queen and the Weird Monk is not a human being but someone from the heaven. She comes down to the ground and finally puts down a rebellion against the queen Sunduk who has a miracle power to foresee the future. It is an interesting aspect that Oh depicts a female character adapted from the folktale with such a tough personality. This kind of strong female characters are seen in Choonpung`s wife and Tae as well, just like a symbol of lusty root of the nation. As we have dealt with, the Queen and the Weird Monk showing Korean qualities as well as contemporary characteristics is the significant text to research Oh Tae Suk`s unique dramaturgy with Koreaness.

1970년대 한국연극의 전통 수용 양상 -극단 자유의 경우-

김미도 ( Kim Mi Do ) 한국연극학회 2003 한국연극학 Vol.0 No.21

In 1970`s, the theatre co. Jayu played a forerunner role in theatre field by the works of modernization of the tradition. Among the creation theatre played by `Jayu` in 70`s, especially, Where shall we meet and what shall we have become , Dongnija legend, and What shall we become set a momentous turning point to establish its unique performing style. These three works have their common interest somehow. Primarily, the original text based on traditional fable is parodied and /or dramatized by a play writer or a producer, In the Where shall we meet and what shall we have become, the writer exercises parody assertively in view of destiny and karma focusing on the significance of meeting. It is extended to the customary meeting beyond the epoch and history. The Dongrija legend by Yong-nak Kim appears rather plain, but it actually lampoons it more corrupted modern society than the original version. The What shall we become has distinctively changed to a different configurationthan the original texts as wide-ranging episodes, songs, and poetry were added by performers collective creations. All three works adapt the style far from dominantrealism fashion those days. Unrealistic essence of Where shall we meet and what shall we have become and Domgrija legend could have been directed realistically, but Jung ok Kim chose to have it deviated, Both of the works stated above perusedabstract stage design and the costumes; Where shall we meet and what shall we have become as a poetic theatre and Dongrija legend attempted to stylize in which dancing motion was reinforced. When it comes to what shall we become, one would find that the uniqueness of each scene becomes significant instead of narrative presentation and entertaining theatre dominated by coincidence and impulsiveness are noted. Both plays are considered having been produced, which were significantly aware of the audiences. The Jayu is thought-out to have reached to a new genre, `Total Theatre` in the course of those three projects after all. The possibility of those poetic words experimented in Where shall we meet and what shall we have become and movements in dancing experimented in Dongnja legend have been reborn as a theatre model entirely well synchronizedwith poem, music, and mime in the play, What shall we become. Nonetheless, there are some serious problems in the matter of completion of the works. The problems were the jumbled plot filled with tedious episodes which not only caused trouble grasping core motive in the way of arrangement and intervention, which led to unsuccessful gaining unified standpoint. But the pattern of `troupe creation` was newly designed and it was obvious that all the participants in the performance strived to contribute for the project configuration. It resulted in not only attaining relaxed, entertaining but also blocking theavenue to the way obtaining aesthetic unity. To conclude, the works of `Jayu` in 1970 s are given significance in a sense of setting off the possibility in Korean theatrical ritual despite of many-sided limits. The ritual theatre is about to have divinity and festivity, which are extensively correlated to today`s theatre invigorated, as is well known. It seems trying to freshly understand the originality in means of today`s life and culture through theatrical primitive life-force rather than mere return to the ancient or traditional reproduction.