[드라마루르그노트]〈혼자 때로는 둘〉드라마트루기에 관해

홍란주 공연과이론을위한모임 2014 공연과 이론 Vol.- No.56

춤연극 《미롱》의 연출적 접근 방법 고찰

홍란주,신영섭 한국예술교육학회 2019 예술교육연구 Vol.17 No.4

This study was written for the purpose of examining the directing approach of dancetheater 《Mirong》 and the body language and theatricality of the dancetheater. The purpose of this study was to examine the directing approach of the dancetheater 《Mirong》 and the body language was written for the purpose of examining genre possibilities of expanding theatricality through the dancetheater. First, we examined the directing attempts and approaches of the dancetheater through the creative process, in which a scenario is co-worked into a performance text. The scenario became the basis for eliciting the actors' movements based on the minimum framework and the directing concept. The performance text was constructed by visualizing the impulse of the actor who considered the movements of traditional dance and the movement that applied modern dance. The body, which reveals the meaning of existence, was highlighted as it was borrowed as a heterogeneous element from traditional dance and modern dance. Performing in body language and revealing theatricality through dance presented the construction process from the dancetheatrical elements and body movements the work into the performance text. The playful body was revealed through Salpans and arts. Like Jung-Jae, the playful image was built through intense training. Korean traditional dance and play can be an actor's body training methodology and accept the tradition and apply it to the reality of modern theater. The walking and arm movements of the court dance, which was used as a method of physical training in the practice of building body movements, and examined the diversity of the body's language revealed in the performance through the dancetheater 《Mirong》. The point where modern dance was used to create an improvised image attempted to modernize traditional elements by externalizing the internal impulse of the actor or by combining it with modern dance elements to create a third gesture language. Although gestures are based on the archetypes of dance and play, actors can reveal bodies's self directed language when their performance is looked closely. This study the process of combining and building traditional dance, modern dance, and the inner impulse of the actors in the form of movement, and analyzed the directing approach from the standpoint of making a play and predicted the possibility of the dancetheater. 본 연구는 춤연극 《미롱》의 연출적 접근 방법과 춤연극의 신체언어와 연극성을 고찰할 목적으로 저술되었 다. 먼저 《미롱》의 시나리오가 공동작업을 통해 공연 텍스트화 되는 창작과정을 통해 춤연극의 연출적 시도와 접근법을 살펴보았다. 시나리오는 최소한의 줄거리와 연출 컨셉을 토대로 배우들의 움직임을 이끌어낼 수 있 는 근거가 되었다. 공연 텍스트는 전통 춤의 동작들을 염두한 배우의 충동과 현대무용을 응용한 움직임을 가시 화하여 구축하였다. 현존의 의미를 드러내는 대상이자 몸은 전통 춤과 현대 무용의 서로 이질적 요소로 차용되 면서 몸을 부각하였다. 몸의 언어로 수행하는 것, 춤을 통해 연극성을 드러내는 것은 이 작품이 지니고 있는 춤연극적 요소와 신체 움직임의 구축이 공연 텍스트로의 완성되는 과정을 제시하였다. 놀이적인 몸은 살판과 기예를 통해 드러났는데 정재와 마찬가지로 강도 높은 훈련을 통해 유희적 이미지를 구축하였다. 한국의 전통 춤과 놀음은 배우 신체훈련 방법론이 될 수 있고 전통을 수용하여 현대연극의 실제에 적용될 수 있음을 접근 하였다. 몸의 움직임을 구축하는 연습에서 신체훈련의 방법으로 사용했던 궁중 무용의 보법과 사위를 들여다 보고 춤연극 《미롱》을 통해 몸의 언어가 공연에 드러난 다양성을 고찰하였다. 즉흥적 이미지를 생성하기 위해 현대무용을 사용한 지점은 배우의 내적충동을 외형화하거나 현대무용적 요소와 결합하여 몸짓언어를 만들어냄 으로써 전통적 요소를 현대화하는 작업을 시도하였다. 몸짓도 춤과 놀음의 원형에 기반을 두지만 배우들이 드 러낼 수 있는 신체의 자기 지시적인 언어를 찾는데 중점을 두면서 공연을 완성한 측면을 살펴보았다. 전통 춤 과 현대무용, 배우의 내적 충동이 움직임 양식으로 조합되고 구축되는 과정을 추적하고 연극을 만드는 입장에 서의 춤연극을 연출적 접근으로 분석하며 춤연극의 가능성을 전망하였다.

「억척어멈과 그 자식들」에 나타난 서사극 연기의 희극성 고찰 : [베를리너 앙상블] 공연을 중심으로

홍란주 동국대학교 연극영상학부 2001 演劇學報 Vol.28 No.-

중국 명성조 시대 정화하서양의 해상무역 네트워크 구축에 관한 연구

홍란주,박명섭,왕천 한국해양비즈니스학회 2022 해양비즈니스 Vol.- No.52

About 617 years ago, a gigantic fleet composed of more than 200 ships and 27,000-28,000 crews under the leadership of Zheng He set out for western countries, which marked the beginning of the unprecedented series of voyages in the world maritime history. Zheng He commanded seven great expeditions between 1405 and 1433. For 28 years, his fleets had been to Southeast Asia as well as West Indian Ocean, and had sailed as far as the coast of the Red Sea and the east coast of Africa. More than 30 countries were visited. The unprecedented largest voyages opened the sea routes which made a turning point for China to start its contact with other countries by sea. The main purpose of this paper is to examine the backgrounds and motives of Zheng He’s voyages. Also we research the effects of Zheng He's voyages on the maritime trade network in the Mingchengzu period.

비대면 공연제작실습 실행 방안

홍란주 한국예술교육학회 2023 예술교육연구 Vol.21 No.2

The purpose of this study is how to effectively operate and implement non-face-to-face perform- ance production practice classes after the COVID-19 pandemic. Performance production practice in the new normal era promotes a new concept of university practical education approach based on in- teractive intermediary using image media, text creation, and daily time and space. In order to devel- op non-face-to-face subjects and operation methods as research methods, online performance pro- duction practice and online/offline blended learning classes based on project-based learning are designed. We will consider the implementation plan, focusing on the cases of killing with students in the first semester of 2020 and 2021. Non-face-to-face performance production practice begins with improvisation training, which is a warm-up, and breaks free from the restrictions of stage equipment to build creative texts and present performances. The blended learning method of online and offline classes provides multimedia education with images, sounds, and movements to replace text for learn- ers who freely use media and use visual media as a means of performance rather than a medium. motivates them to create performances. Participants actively perform non-face-to-face performance production practices by designing media and editing and quoting texts. The online performance pro- duction practice research process of this thesis actively accepts the performance production method using visual media for non-face-to-face performances, and conducts a non-face-to-face or a combi- nation of face-to-face and non-face-to-face performance production practice classes through re- search on performance production in the new normal era. It is intended to present alternatives to new subject development and management methods, teaching-learning methods, and performances. 본 연구는 코로나 19 팬데믹(pandemic) 이후 비대면 방식의 공연제작실습 수업을 어떻게 효과적으로 운영하고 실행 할 것인가에 목적이 있다. 뉴노멀 시대의 공연제작실습은 화상 매체, 텍스트 창작, 일상의 시공간을 활용하여 상호작용하는 인터미디얼리티를 바탕으로 새로운 개념의 대학 실기교육 접근을 도모한다. 연구방법으로 비대면 교과목과 운영방식을 개발하기 위해 프로젝트 기반 학습을 토대로 한 온라인 공연제작실습과온·오프라인 블랜디드 러닝 수업의 수업계획과 구성을 설계한다. 2020년과 2021년 1학기 학생들과 수업한살제 사례를 중심으로 실행 방안을 고찰한다. 비대면 공연제작실습은 워밍업인 즉흥연기훈련을 시작으로 무대장치의 제약에서 벗어나 창작 텍스트를 구축하고 공연을 발표한다. 온라인과 오프라인을 병행하는 블랜디드러닝(Blended Learning) 방식의 수업은 미디어를 자유롭게 활용하고 화상매체를 매체가 아닌 공연의 수단으로 사용하는 학습자들에게 텍스트를 대체할 이미지, 소리, 움직임 등으로 멀티미디어 공연을 만들어내도록 유도한다. 참여자들은 미디어를 설계하고 텍스트를 편집·인용하여 비대면 공연제작실습을 능동적으로 수행한다. 본 논문의 온라인 공연제작실습 연구과정은 비대면 공연의 화상매체를 이용한 공연제작 방식을 능동적으로 수용하여 비대면 혹은 대면과 비대면 혼합형 방식의 공연제작실습 수업 연구를 통해 뉴노멀 시대의 공연제작 원격수업의 새로운 교과목 계발과 운영방식, 교수학습법 및 공연 형태의 대안을 제시하고자 한다.

「억척어멈과 그 자식들」에 나타난 서사극 연기의 희극성 고찰 : [베를리너 앙상블〕공연을 중심으로

홍란주 동국대학교 연극영상학부 2001 演劇學報 Vol.29 No.-

극단 시선의 아비뇽 오프 페스티발 프로모션 실제

홍란주,신영섭 한국연극교육학회 2020 연극교육연구 Vol.36 No.-

The reality of the Avignon Off Festival promotion was analyzed based on market analysis. First, we approached the tendency of the entries and the audience. Participating works were successful in work and popularity, and were modern creative plays that utilized the characteristics of the country or the uniqueness of the performance team. The performances were perfect for all ages of the East and West. We distinguished between the works being performed and the performance genre preferred by the audience. There is a difference in probability between the participating teams and the audience's preferred performance genre. The female audience, twice as many as the male audience, and the middle-aged, were the main audience of the festival, and more than 90% of the festival audience were French and Europeans from neighboring countries. We focused on the reality of performance promotions, focusing on the festival's work, Mirong. The direction of the promotion is that you must visit the festival site in the previous year when the performance is scheduled, and that you should be introduced to a theater that is well-known through the directors or planners of the festival performance group. A well-known theater has its own network and has an audience, so it can help promote the performances of organizations entering overseas festivals at a high production cost and expense. The information that the audience comes and the performances are invited to other festivals just by promoting the streets is far from real. The need for publicity through local planners is absolute in promotions. A theater company or an artist who wishes to advance into the festival must systematically prepare based on a thorough field survey and network in advance. Human interaction with many stakeholders should be done and the prepared materials should be presented effectively. Countries such as Taiwan, China, and Denmark lend a theater to one of the theaters of the Avignon Off Festival for a long period during the festival, providing a foundation for their troupes to perform. It is hoped that Korea will also provide the foundation for performing at the national level to the troupes who want to advance to the Avignon Off Festival.

북해의 해운발생 대기오염물질 배출 규제에 관한 연구

홍란주,박명섭 한국외국어대학교 국제지역연구센터 2011 국제지역연구 Vol.15 No.2

90% of EU external trade around 35% of trade between EU countries and a huge amount of through traffic is handled in the Oslo and Paris Commission (OSPAR) area with busiest shipping lanes in the Greater North Sea. Maritime transport, especially tanker traffic, has been rapidly increasing and ship traffic is expected to continue to grow. This development adds urgency to the strict implementation of existing measures, which controls air pollutants emissions from shipping, such as the International Convention for the Prevention of Pollution from Ships (MARPOL) Annex VI of the International Maritime Organization (IMO). Climate change is a global issue, which specific environmental and societal impacts, however, will ultimately be felt at local level and affect all people's daily life. Climate change and its impacts therefore need to be addressed at all levels, such as global, regional, national, and local. Hence, the main purpose of this thesis is to examine the controls of air pollutant emissions in international shipping, especially in the North Sea, and to describe some implications. To meet this purpose, the study provides an overview of the current international legal framework to keep emissions from international shipping on the basis of a case study on the OSPAR. EU 역외교역량의 90%, 역내교역량의 35%는 북해 연안을 규제하는 OSPAR(Oslo and Paris Commission)의 관할 해역을 통해 이동되고 있다. 이곳에서는 해상운송, 특히 탱커의 운송량이 급속히 증가하고 있으며 지속적으로 늘어날 것으로 전망되고 있다. 이러한 증가추세는 선박기인 대기오염물질의 규제안인 국제해사기구의 MARPOL Annex VI과 같은 협약의 내용이 더욱 강화되도록 하고 있다. 기후변화는 전 지구적인 이슈이기도 하지만 모든 인간의 삶에 영향을 미치며 지역 차원에서도 위험성이 대두되고 있는 문제이므로 기후변화와 그에 따른 영향은 국제적, 지역적, 국가적, 로컬의 모든 차원에서 고려되어야 할 문제로 인식되고 있다. 특히 국제해운은 한 국가에서 관리할 수 있는 부분이 아니며 해역 또한 어느 한 곳에서 관리하기는 불가능한 특성을 가지고 있다. 이에 본 연구에서는 유럽연합 교역량의 대부분이 이송되는 북해 지역에서 해상운송을 통해 발생되는 대기오염물질의 규제가 어떻게 이루어지고 있는지 국제기구와 지역기구, 주변 국가의 규제안을 고찰하고 각각의 상호수용 여부를 비교하고 분석하는 것을 주된 목적으로 한다. 또한 규제 현황으로부터 시사점을 도출하여 선박기인 대기오염물질의 규제가 비교적 약한 지역과 국가들에게 시사점을 제시하고자 한다. 따라서 본 연구는 북해지역의 선박기인 대기오염물질 발생 현황을 바탕으로 국제해사기구, OSPAR, EU의 해운발생 대기오염물질 규제안을 주로 다루고 있다.

유럽연합의 항만정책에 관한 연구

홍란주,허윤석 한국해양비즈니스학회 2022 해양비즈니스 Vol.- No.53

The European Union (EU) is a single market consisting of 27 countries, with the most intensified regional economic integration. European ports are vital gateways, linking its transport corridors to the rest of the world. Ports play an equally important role to support the exchange of goods within the internal market and in linking peripheral and island areas with the mainland of Europe. Ports are not only great for moving goods around, they also constitute passengers' moving and generate employment. Since 1957 the EU has constituted an additional supranational policy-making jurisdiction in the field of transport. The first discussions regarding the port policy took place as early as 1970. However it was only in the 1990s, that the scope and depth of the EU initiatives have widened. For more than 30 years, a series of EU policy proposals have aimed to assist the adjustment of European ports to contemporary challenges. They have considered on the sustainability and green growth of the EU. Therefore, this study examines the characteristics of European Port Policy(EPP) on the historical perspective and to derive implications of the EPP. For these, the study examines the general characteristics of the EU policies and trends of european ports also, examines the development and change process of EU port-related policies by the period of the EU's enlargement.

크루즈선사와 선원의 해양 안전문화에 관한 연구

홍란주(Ran-Ju Hong),박명섭(Myong-Sop Pak) 한국해양비즈니스학회 2020 해양비즈니스 Vol.- No.47

As a complex socio-technical system, marine transportation is open to risks. Due to the efforts of international organizations, flag / port administrations, classification societies and cruise lines, the safety record has steadily improved. However, cruise ship accidents resulting from inadequate safety culture of cruise line and crew still occur. In this paper, we analyze the factors affecting the maritime safety culture and to suggest implications to enhance the maritime safety culture of cruise line and crew. For this purpose, the study identify the importance of maritime safety culture through accident cases of cruise ships that occurred after 2010. The study then provide measures to safely manage cruise ship operations by presenting models that can be used to foster maritime safety culture of cruise line and crew members using factors extracted through literature review.