ScholarWorks@Dongguk University: Cho, Joon hui

Detailed Information

Cho, Joon hui (조준희)

College of the Arts (Department of Theatre)

Research Area

Tel 02-2260-8870
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포스트 서사극:11||수행성:10||Performativity:9||현존:7||Scenography:7||포스트드라마:6||시뮬라크르:6||시노그래피:6||Sweat:5||Simulacre:5||연극교육:5||Presence:5||뷰포인트:5||연출:5||몸:4||Gestus:4||루스 자포라:4||케이티 미첼:4||뮤지컬:4||Katie Mitchell:4||DSM5:4||Postepic Theater:4||액션 시어터:4||Viewpoints:4||Hamelin:4||메타연극:4||게스투스:4||창의성:4||후안 마요르가:4||Ruth Zaporah:4||Action Theater:4||Lynn Nottage:3||공연:3||body:3||Tennessee Williams:3||심리적 제스처:3||노동연극:3||플로리앙 젤레르:3||directing:3||하멜린:3||Psychological Gesture:3||경계선 성격장애:3||creativity:3||The Glass Menagerie:3||유리동물원:3||musical:3||갈매기:3||공동창작:3||에포트:3||라반 움직임 분석:3||재매개:3||이보 반 호브:3||Effort:2||John Dewey:2||theme park:2||Rudolf von Laban:2||Metaverse:2||feedback loop:2||루돌프 본 라반:2||Juan Mayorga:2||Anton Chekhov:2||immersive theatre:2||아버지:2||Performance:2||린 노티지:2||악셀 호네트:2||테네시 윌리엄스:2||마리우스 폰 마이엔부르크:2||테마파크:2||안톤 체홉:2||마이클 커비:2||CT:2||Michael Kirby:2||Applied Theatre:2||Acting:2||메타 연극:2||메타버스:2||메타버스 공연:2||포스트드라마 연극:2||어린이 공연장:2||피드백 고리:2||어플라이드 시어터:2||에스틸 보이스 트레이닝:2||역할 바꾸기:2||황금용:2||Laban movement analysis:2||Labor Theater:2||PostEpic Theater:2||못생긴 남자:2||PostEpic Theatre:2||연기:2||Alienation Effect:2||Postdrama:2||ZEP:2||Event Identity:2||미디어:2||미적 경험:2||미카엘 체홉:2||공연 각색:2||공연예술:2||acting:2||Postepic theatre:2||NFT:2||aesthetic experience:2||AI:2||이머시브 연극:2||Le Père:2||극중극:2||인공지능:2||perfomativity:2||performance:2||Anne Bogart:2||인정투쟁:2||빌렘 플루서:2||Improvisation:2||Directing:2||presence:2||뉴다큐멘터리 연극:2||Recognition Struggle:2||생소화 효과:2||The Golden Dragon:2||서사극:2||role reversal:2||Marius Von Mayenburg:2||Remediation:2||The Sea Gull:2||The Ugly One:2||Borderline Personality Disorder:2||존 듀이:2||존경하는 엘레나 선생님:2||Media:2||Collaborative Creation:2||Ivo Van Hove:2||Artificial Intelligence:2||스웨트:2||즉흥극:2||Florian Zeller:2||theater education:2||Millenium Garden:1||Mime:1||Mime (마임):1||Montero:1||Musical:1||Narcissistic personality disorder:1||Narrative:1||Narrative layer:1||New Documentary Theater:1||New Media:1||New Media Theater:1||New Normal:1||New documentary play:1||New meaning:1||Nina:1||Ninagawa Yukio Shakespeare Romeo and Juliet Scenography Vertical Stage Set Demythologization:1||Nondanse:1||Novel:1||Open Theater:1||Oral culture:1||Original Musical:1||Oscar:1||PTSD:1||Paranoid Personality Disorder:1||Participation:1||Paulina:1||Performance Adaptation:1||Performing Art:1||Performing Arts:1||Persona Embodiment:1||Post COVID19:1||Post Drama Theater:1||Post Traumatic Stress Disorder(PTSD):1||PostEpic  Theatre:1||PostPostmodernism:1||Postdrama  theatre:1||Postdrama:1||Presence of the audience and the actor:1||Printing:1||Psychodrama:1||Rapid Prototype:1||Reality Hybridization:1||Recognition Theory:1||Relevance theory:1||Rent:1||Reproduction:1||Richard Hornby:1||Robert Lepage:1||Roland Schimmelpfennig:1||Role Concept:1||Role Playing within the Role:1||RolePlaying(롤플레잉):1||Roman tragedy:1||Ruth  Zaporah:1||Ruth Zaporah’s <Action Theater>:1||Safety Accident:1||Safety Education(안전교육):1||Safety Man:1||Samuel Beckett:1||Scenario Group Creativity:1||Scene Transition:1||Seagull:1||Seagull contemporary scenography embodying stage directorial perspective:1||Senses:1||Service Design:1||Simulacratic Character:1||Simulacre Dailiness:1||SiteSpecific Theatre:1||Social:1||Sofia:1||Software Culture:1||Stan:1||Stephen Davies:1||Stephen Karam:1||Subconsciousness:1||Suncheon:1||Suncheon Bay Garden Expo:1||Suncheon station:1||Synesthesia:1||Technical Design:1||Technical Images:1||Text Dissolution:1||The BaeksuKwangbu Theater:1||The Fountainhead:1||The Hamlet’s Father:1||The Humans:1||The Play within the Play:1||The Value of Art:1||The play within the play:1||The structure of the meaning generation:1||Theater:1||Theater Education:1||Theater Programs:1||Theater education:1||Theatre Education:1||Theatre Game:1||Theatre Production Class:1||Theatre Studies(연극학):1||Theatre(공연장):1||Theatrical Environment:1||Tom Wing Field:1||Tracey:1||Tracy Letts:1||Transformation:1||Transmedia:1||Transparent Immediacy:1||Treplev:1||US Military Comfort women:1||Unconsciousness:1||Universal Design RolePlaying:1||Viewpoint:1||Vilém Flusser:1||Vilem Flusser:1||Viola Spolin:1||Violet:1||Waiting for Godot:1||Walter J. Ong:1||Workers:1||Written culture:1||Zen:1||a view from the bridge:1||acting techniques:1||actor mediality:1||aesthetic:1||animation:1||audience and actor:1||body memory:1||breathing:1||characteristic:1||characterization:1||children safety service:1||children’s theatre:1||copresence:1||cognitive psychology:1||collaborative creation:1||count:1||culture & tourism:1||culture & tourism belt:1||deterritorialization:1||directorial aesthetics:1||diversity:1||edutainment:1||embodied cognition:1||emergence of meaning:1||epic character:1||epic dramaturgy:1||epic music:1||epic musical:1||epic space:1||epic theatre:1||escapism:1||highintensity vocalization:1||human connectome:1||image schema:1||imagery:1||imagination:1||improvement of resonance:1||improvisationt:1||infortainment:1||inner justification:1||interactive:1||intuition:1||juan mayorga:1||liminality:1||local event:1||local festival:1||media acting:1||mediaacting:1||metatheatre:1||metatheatricality:1||metadrama:1||metaphorical projection:1||minimalism:1||mirror neuron:1||montage:1||multicamera system:1||multiframing:1||multisensory:1||multimedia:1||multimedia interaction:1||narrator:1||new media play:1||noncognitive dysfunction:1||notacting:1||pause:1||performance adaptation:1||personalization:1||physicalization:1||playfulness:1||preacting:1||process orientation:1||projection mapping:1||public safety service:1||remediation:1||rulebreaking syndrome:1||safety education:1||score:1||segmentationacting:1||service design:1||simulacre:1||space storytelling:1||spatiality:1||stakes:1||storytelling:1||tale:1||target:1||the boy in the last low:1||theater siki:1||theatricality:1||theme performance:1||training method:1||transaction:1||true vocal folds:1||urban regeneration:1||viewpoints:1||visual narrative:1||vocal training:1||vocalization:1||voice of actors:1||voice training:1||≪하멜린≫:1||가족:1||가족 뮤지컬:1||각색:1||각색 연구:1||갈매기동시대 시노그래피무대 형상화연출적 관점:1||감각:1||감성지능:1||거울 뉴런:1||고강도 발성:1||고도를 기다리며:1||고유성:1||공간성:1||공간스토리텔링:1||공감각:1||공공안전서비스:1||공동현존:1||공명 개선:1||과정지향성:1||관객과 배우:1||관객과 배우의 현존:1||교호작용:1||구술문화:1||규칙위반 증후군:1||그로토프스키:1||극단 백수광부:1||극단 사계:1||극적 환경:1||글로리아:1||기술이미지:1||내러티브:1||내적 정당성:1||노동자:1||놀이성:1||농당스:1||뉴 노멀:1||뉴미디어:1||뉴미디어 씨어터:1||뉴미디어연극:1||니나:1||니나가와 유키오셰익스피어로미오와 줄리엣시노그래피수직적 무대장치탈신화:1||다리에서 바라본 풍경:1||다양성:1||다중 감각:1||다중영상시스템:1||다중프레이밍:1||더 휴먼스:1||데클란 도넬란:1||동시대 담론:1||동시대 포용적 퍼포먼스:1||동화:1||디아스포라:1||디에게시스:1||디지털 아우라:1||디지털 퍼포먼스:1||라반 움직임 분석.:1||라반움직임분석:1||래피드 프로토타입:1||럭키:1||레프 마노비치:1||렌트:1||로마 비극:1||로베르 르빠주:1||롤란트 시멜페니히:1||루스  자포라:1||루스 자포라 <액션 시어터>:1||리미널리티:1||리얼리티 혼종성:1||리처드 비:1||마셜 매클루언:1||마임:1||매체연기:1||맨 끝줄 소년:1||멀티미디어:1||멀티미디어 인터랙션:1||메를로퐁티:1||메소드 연기:1||메타버스 플랫폼:1||메타버스 활용 수업:1||메타인지:1||메타인지 전략:1||모순반응:1||몬테로:1||몸의 기억:1||몽타주:1||무의식:1||문자문화:1||문화관광:1||문화관광벨트:1||미군 위안부:1||미니멀리즘:1||미드저니:1||미학:1||바이올렛:1||반사회적 인격장애:1||발성:1||배리어컨셔스:1||배우:1||배우 매체성:1||배우의 음성:1||베르톨트 브레히트:1||베아트리스:1||변형:1||북극곰 로라:1||분위기:1||분절연기:1||비가시적 접근성:1||비올라 스폴린:1||비인지 기능 장애:1||비주얼 내러티브:1||빠울리나:1||사무엘 베케트:1||사이:1||사이코드라마:1||상상:1||새로운 의미:1||생성형 AI:1||서비스 디자인:1||서비스디자인:1||서사적 드라마터지:1||서사적 음악:1||서사적 인물:1||서사적공간:1||서사층위:1||선:1||세계에로존재:1||세이프티 맨(Safety Man):1||소설:1||소프트웨어 문화:1||소피아:1||순천:1||순천역:1||스웨트. 린 노티지:1||스탠:1||스테익스:1||스테판 카람:1||스토리텔링:1||스티븐 데이비스:1||시노그라피:1||시뮬라크르적 일상성:1||시뮬라크르적 캐릭터:1||신체연기:1||신체적 연기:1||신체화된 인지:1||심상:1||씬 트랜지션:1||아들:1||아르카지나:1||아리엘 도르프만:1||아서 단토:1||아서 밀러:1||아우라:1||안전 사고:1||안전교육:1||알츠하이머 치매:1||앙드레:1||앙상블:1||애니메이션:1||애니컬:1||액션 씨어터:1||앤 보가트:1||앤보가트:1||어거스트:1||어거스트 : 가족의 초상:1||어느 계단 이야기:1||어린이 안전서비스:1||어맨다 윙필드:1||에듀테인먼트:1||역할 이론:1||역할놀이:1||연극:1||연극 프로그램:1||연극게임:1||연극성:1||연극제작수업:1||연극치료:1||연기/ 비 연기:1||연기양상:1||연기테크닉:1||연기훈련:1||연출미학:1||영상연기:1||예술 가치:1||예술노동:1||오스카:1||오픈 시어터:1||외상 후 스트레스 장애:1||외상후 스트레스 장애:1||월터 옹:1||유니버셜 디자인롤플레잉:1||유아:1||육체성:1||융합:1||은유적 투사:1||음성 훈련:1||음악성:1||의미 생성 구조:1||의미 창발:1||이미지 도식:1||이해랑 예술극장:1||인공지능(AI):1||인공창의:1||인물구축:1||인물창조:1||인쇄술:1||인정이론:1||인지 과정:1||인지심리학:1||인터랙티브:1||인터랙티브 연극:1||인포테인먼트:1||일상성:1||자기애성 성격장애:1||자기화:1||잠재의식:1||장소특정적 연극:1||재생:1||재해석:1||재현:1||적합성 이론:1||전연기:1||정원:1||정원박람회:1||제롬 벨:1||제시:1||조나단 라슨:1||존재감:1||주어진 환경:1||주제공연:1||죽도봉:1||죽음과 소녀:1||즉흥 연기 훈련 기술:1||즉흥 연습:1||즉흥시나리오:1||즉흥연기 훈련:1||지역 이벤트:1||지역 축제:1||지진:1||직관:1||진:1||진성대:1||집단창조성:1||집중력:1||참여:1||창작 뮤지컬:1||창작뮤지컬:1||챗GPT:1||천년의 정원:1||체현극단적 사용자감정이입:1||총보:1||카운트:1||캐니멀:1||코로나 팬데믹:1||콘텍스트:1||큐비즘:1||타겟:1||탈영토화:1||탈일상:1||테네시 윌리엄즈:1||테크니컬 디자인:1||텍스트 해체:1||톰 윙필드:1||통섭:1||투명성의 비매개:1||트랜스미디어:1||트레이시:1||트레이시 레츠:1||트레플레프:1||파운틴헤드(The Fountainhead):1||퍼포먼스:1||페르소나:1||편집성 성격장애:1||포스트 포스트모더니즘:1||포스트코로나:1||품행장애:1||프로젝션 맵핑:1||하이퍼매개:1||해설자:1||햄릿아비:1||호흡:1||확장된 각색 의미:1||환경 보호 동화:1||활성화:1||훈련법:1||<Hamlet Only for Nine Days>:1||휴먼 커넥톰:1||<Outside the door>:1||<Settle Dongil textile company’s affairs>:1||<Sookja's Story>:1||<The Torchlight>:1||<구일만 햄릿>:1||<동일방직 문제를 해결하라>:1||<문 밖에서>:1||<숙자 이야기>:1||<횃불>:1||5요인 모형:1||AI Art:1||AI 기반 예술교육:1||AI 예술:1||AI(Artificial Intelligence):1||AIbased Arts Education:1||Acting aspect:1||Action Theatre:1||Actor:1||Adaptation:1||Adaptation Study:1||Alzheimer's dementia:1||Amenda Wingfield:1||Analysis:1||Andrè:1||Anical:1||Antisocial personality disorder:1||Ariel Dorfman:1||Arkadina:1||Arthur C. Danto:1||Arthur miller:1||Artistic Labor:1||Atmosphere:1||Augmented Creativity:1||August:1||August : Osage County:1||Aura:1||Axel Honnet:1||Axel Honneth:1||BarrierConscious:1||Beatrice:1||Beingtotheworld:1||Bertolt Brecht:1||Big 5 Model:1||Big 5 모델:1||Body:1||Borderline Personality Disorder(BPD):1||Building the Character Action:1||COVID19 Pandemic:1||Canimal:1||ChatGPT:1||Children Theater Programs:1||Children's Theatre:1||Children’s Theatre(어린이 공연):1||Cognitive Processes:1||Concentration:1||Conduct Disorder:1||Consilience:1||Contemporary Discussion:1||Contemporary Inclusive Performances:1||Context:1||Convergence:1||Corporeality:1||Creativity:1||Critical Incident(아차사고):1||Cubism:1||Dear  Elena Sergeyevna:1||Dear Elena Sergeyevna:1||Death the Maiden:1||Declan donnellan:1||Design Methodology(디자인 방법론):1||Diaspora:1||Diegesis:1||Digital Aura:1||Digital Performance:1||DramaTherapy:1||ESG:1||ESG (Environment:1||Earthquake:1||Efort:1||Emotional Intelligence:1||Empathy Improvisation:1||Ensemble:1||Environmental Protection Fairy tale:1||Estill voice training:1||Everyday life:1||Existence:1||Expanded Adapted Meaning:1||Extreme User:1||Family:1||Family Musical:1||FiveFactor Model:1||Florin Zeller:1||Generative AI:1||Given Circumstances:1||Gloria:1||Governance):1||Grotowski:1||Healing:1||Historia de una Escalera:1||HyperMediacy:1||ICR:1||Improvisation Training:1||Improvised acting training technique:1||Interactive Theater:1||Invisible Accessibility:1||Ivo van Hove:1||Jerome Bel:1||Jin:1||Jonathan Larson:1||Juan Mallorga:1||Jukdobong:1||Korean Original Musical:1||Laban Motion Analysis:1||Laban Movement Analysis:1||Laban movement analys:1||Labor theater:1||Laura the Polar Bear:1||Le Fils:1||Lee Haerang theatre:1||Lev Manovich:1||Lucky:1||Marshall McLuhan:1||MerleauPonty:1||MetaTheatre:1||MetaTheatre:1||Metacognition:1||Metacognitive Strategy:1||Metadrama:1||Metatheatricality:1||Metaverse Performance:1||Metaverse Platform:1||Metaverse based Learning:1||Metaverse performance:1||Method:1||Michael Chekhov:1||Michael chekhov:1||Midjourney:1||

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