2006, Vol.17, No.17

The Korean Journal of Dance Studies 2023 KCI Impact Factor : 0.93

pISSN : 1226-900X / eISSN : 2713-9468
https://journal.kci.go.kr/krsds

The purpose of this study is to confirm attention of questionnaire by analyzed whether question items are suited to stage performance anxiety and recognized validity of questionnaire about stage performance anxiety which is obtained with corrected the questionnaire to be appropriate to suit the subject based on sport competition anxiety scale by Smith, et al(1990).The questionnaire was investigated its validity by research to 176 dancers about factors of anxiety, worry and distraction and using exploratory factor analysis, cronbach coefficients, confirmatory factor analysis in accordance with a similar questionnaire of sports competition anxiety prepared by Smith et al(1990). This questionnaire was made up of 20 items of 3 factors and these items were shown reliably related. A result of confirmatory factor analysis showed structures of 18 items about 3 factors for structure validity scale.The consequence of looking into the dance performer anxiety psychology based on statistics of the questionnaire suggests making effort to constantly develop programs for solving the stage anxiety. In view of the results performance should be attained for harmony between physical and psychological practice. Futhermore the effect of stage anxiety on performance would be continued studying by research to dancers through stage anxiety questionnaire proved its reliability, validity and corrected its problems after an on-the-spot inspection. Therefore understand cognitive and physical anxieties felt by dancers during performance scientifically and find ways of improving such anxieties, ultimately providing basic information on which many other researchers make further studies of the problem.

Commedia dell?rte of Italy and Bong-san mask dance of Cho-sun showed considerable similarity despite their different culture and background of times. In those performances in which the ruled class of society became the subject, we could find the social function of dance art from the themes, characters, and ways of expression of those mask dances.In summary, the social functions of Commedia dell?rte and Bong-san mask dance were as in the following: First, we could find their function of transferring meaning and communication. The physical action and movement of performers could transfer some meaning in non-verbal communication based on their masks, clothes, and behavior or movement of typical characters, and the stage of such improvised performances became the field of communication between performers and spectators. Second, their function was to criticize their society through satire and humor. In terms of the features of mask dance, performers could express critical statements and satiric behavior as well as remark freely while hiding their identity. This made the participants of the performance have a sense of solidarity and resolve conflicts between classes. Lastly, those performances made it possible to maintain social stability and the existence of the ruling class by resolving discontents and suppression of the ruled class with their function of resolving social conflicts and harmonizing classes one another.Through this study, it was proven that dance art was closely related to social and political circumstances of its time and it reflected the significance of social and political circumstances of the time when such a performance was made along with communication with spectators.

This study is one part of the project dealing with the achievements and meaning of dance performed by Prince Hyomyeong from the perspective of cultural history, focusing on the discourse on music in the late Chosun. The previous studies on Prince Hyomyeong have been done in the various areas, such as Korean literature, history, dance, and musicology, because he left a great deal of cultural achievements, though he lived a short life for 22 years. However, the existing studies have chiefly focused on his achievements related with court culture, so more extensive researches, such as the social and political relevance of his works, the characteristics in the history of music culture, social-historical approaches, historical reexamination of his achievements are required.This study will look into the historical stream of music led by the court from the eighteenth century to the nineteenth century when Prince Hyomyeong played an active part. This study pays attention to the fact that Prince Hyomyeong was the person in the nineteenth century, the period that is not easily accessible in the academy and will recontextualize his achievements by correlating them with diverse music discourses produced in the nineteenth century.