2021, Vol., No.74

The Journal of Korean drama and theatre 2023 KCI Impact Factor : 0.77

pISSN : 1225-7729 / eISSN : 2713-8453
https://journal.kci.go.kr/kdrama

While paying attention to the coexistence of media in colonial theaters, this paper attempted to sequentially review the chain reactions and inflection points of major production caused by the settlement of talkie. It was the distribution and theater workers who played a leading role in the history of theater culture in the early 1930s, and the gradual and careful conversion of talkie was the result of their hostile coexistence. And the rental business was a factor that allowed theater workers to have bargaining power over distributors. Meanwhile, imported talkie, which generalized the screening method using super imposed subtitles in Japanese, created audiences excluded from watching due to language barriers, and the boundaries of ethnic spaces became increasingly ambiguous. The quota system, which took effect in 1934, was recognized as an opportunity for producers of Joseon films, and the first Korean talkie Chunhyangjeon was an attempt to acquire Korean speakers who turned their backs on the film thanks to institutional guarantees. However, the "Joseon-style" pursued by Chunhyangjeon was bound to deteriorate in the process of Joseon films starting to keep the export market in mind. Furthermore, the desire of the Korean audience identified in Chunhyangjeon also provided a driving force for the birth of the Dongyang Theater. The Dongyang Theater, which advocated a exclusive theater for the play, provided a stage for theater artists who had difficulty renting after the transition to talkie. In addition, this place continues the reputation of the Joseon language oral space facing threats, and at the same time functions as a space to preserve the expected horizon that has been formed since the 1920s. The horizon of expectations based on a sense of unity and emotional interaction as a community declines with the settlement of talkie. However, this was still preserved through the play, and the birth of the Dongyang Theater, which gathered the capabilities of the popular theater industry, provided a base for this horizon of expectations to return.

In college, teachers have taught playwriting to learners with the educational method used in novel or poem writing classes. The joint review is a primary teaching style to get feedback from peers and improve their plays. However, the method of the joint review needs to change for the learner who is familiar with multi-media and are comfortable in the digital environment. The purpose of this study is to explore the educational method for playwriting classes using PBL(project-based learning) in digital learning environments and to find ways to encourage peer's diverse feedback. Using the case of the students in Dramatic Writing major at Baekseok Art University, this study proposes that steps of drama structure design the class, and through online feedback, learners exchanges their opinions and thoughts and follow these steps to achieve their small goals. At the beginning of the class, a teacher sets the project's goal, the one-act play, and learners set the rules for a safe environment for discussion. Then, during the writing process, such as logline, synopsis, 3parts of play, learners submit their writing to the online classroom and get an opportunity to read their peers' writing. After reading, with both ways, actual speech and (writing) chat in the online class, learners can get much feedback within a short period. In each step of writing, learners observe mistakes in peers' writing that they usually make in their writing and learn how to be fixed or find a better way. That accumulates their knowledge, and a teacher does not need to give a lecture and guide them to complete their final project. Furthermore, they also feel achievement and solidarity that encourage learners to finish their final goal and give sincere opinions to peers. It demonstrates that through class satisfaction surveys and interviews, learners deeply realize that peers' feedback influenced the positive effect on their works, even though, sometimes, they were confused by feers’ diverse feedback. Consequently, this PBL class in a digital learning environment stimulates the learning effectiveness and activeness of learners.

The purpose of this study is to reflect on the present and directivity of the theater with technology at the forefront along with the convergence contents support measures by the public institutions and local governments. It covers the changing process of the convergence performance support plans supervised by the public institutions and local governments, which were begun specifically from the late 2010s, and examines the transformation in Science Convergence Content Development Support Project by KOFAC(Korea Foundation for the Advancement of Science & Creativity) including Art & Tech Project by Arts Council Korea and Digital-Theater Stage Project by The Goyang Cultural Foundation. On top of this, its achievements and limitations are surveyed with analyzing the form of AI(artificial intelligence), which was embodied on the stage, and the implementation aspect of on-stage technology focusing on SF theaters that were performed with the support of the relevant institution. This study is progressed the interview with theater company officials and theater artists who received the benefit including a planner of the support project other than checking the project reports and parsing the performance texts in the process of developing a discussion. Through this, the final aim is to seek the possibility of a support project and the directivity of a convergence support plan based on the talk of the times called convergence.