ScholarWorks@Sookmyung Women's University: Lee, Chin A

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Lee, Chin A (이진아)

문과대학 (한국어문학부)

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Tel 02-710-9344
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안톤 체호프:3||Petersburg Theme:3||Yu ChiJin:2||the audience.:2||<Three Sisters>:2||Remediation:2||audience:2||외설(obscenity):2||women's theatre:2||유치진:2||Representation:2||이진순:2||cannibalistic laugh:2||A.Efros:2||<불의 가면(Fire Mask)>:2||자기검열(selfcensorship):2||Romantic Realism:2||Romanticity:2||cultural meaning:2||Lee Heajae:2||feminism:2||『연극평론』:2||feminist theatre:2||<What's wrong with you:2||재매개:2||재현:2||Daring?>:2||검열(censorship):2||정의신:2||'Seolgongchanjeon':2||identity:2||Dostoyevsky's Plays:2||Dramatize Novels:2||M.Knebel:2||The Thaw in Soviet:2||irruption of real:2||차별과 배제:2||Jung BokGuen:2||<매춘(Harlotry)>:2||middle aged women audience:2||섹슈얼리티의 재현(representation of sexuality):2||G.Tovstonogov:2||modernization of classical narrative literature:2||스타니슬랍스키:2||<Woman at a crisis>:2||New Theatre:2||Anton Chekhov:2||Theatrical Space:2||페테르부르그 테마:2||O.Efremov:2||표현의 자유(freedom of expression):2||popular theatre:2||position:2||postBrech):2||Kama Ginkas:2||<The Seagull>:2||postdramatic theatre:2||Realism:2||<The Cherry Orchard>:2||홍해성:2||sitespecific theatre:2||Reality:2||'Jiridadopadopa Seolgongchanjeon':2||연극비평:2||K. Stanislavsky:1||K.S.Stanislavsky:1||Kim Eunsung:1||Kim WooJin:1||Korean modern realism theater:1||Kurosawa Akira:1||Lee Haerang:1||Lee JinSun:1||Lee Jinsun:1||Lee Sungyeol:1||Legend of a Mermaid:1||Lev Manovich:1||Marguerite Duras:1||Michael Chekhov:1||Modernday Hero:1||New Media:1||Normativity:1||R. Grusin:1||Racism:1||Realism Drama:1||Recognition Struggle:1||Robert Lepage:1||Role:1||Selfreflection:1||Sung Kiwoong:1||System:1||TDR(The Drama Review):1||The First Studio of MAT:1||The Relationship between Actors and Their Roles:1||The Second MAT:1||The Theatre:1||The Theme of Beauty:1||The method of physical actions:1||Theater  Company  AeIn:1||Theater Company Baeksookwangbu:1||Theatre journal:1||Transparent Immediacy:1||Ulitskaya:1||Yeonju Lee:1||Yeongeukpyeongron(The Korean Theatre Journal):1||Yeonguekpyeonron(The Korean Theatre Journal):1||Yoh Sukkee:1||Yoo Chijin:1||Zainichi Koreans:1||adaptations:1||avantgarde theatre:1||community of absence:1||contemporary:1||critical positioning:1||cultural identity:1||editorial:1||general magazines:1||german expressionism theater:1||homo sacer:1||in 1950s and 1960s:1||interculturalism:1||intermediality:1||intertextuality:1||life force:1||literary magazines:1||minorities:1||multiculturalism:1||otherized:1||palimpsest:1||parody:1||politics of the literature:1||postcolonial condition:1||postcolonial theatre:1||postcolonialism:1||rewriting:1||sensible bodies:1||technique of acting:1||the Influence Acceptance Relationship of Western Theatre Theory:1||theatre critic:1||theatre theory:1||western theatre:1||“Creating a Role”:1||“Good morning? Chekhov”:1||“Surprised? Chekhov”:1||“the political”:1||「The Shipwreck」:1||「난파」:1||『TDR: The Drama Review』:1||『역할에 대한 배우의 작업』:1||『연극』:1||감각하는 몸:1||개작 양상:1||거리극(Street Theatre):1||고전서사의 현대화:1||공간(Space):1||공간적 실천(Spatial Practices):1||관객:1||관객.:1||구로사와 아키라:1||그루신:1||극단 백수광부:1||극단 애인:1||김우진:1||김은성:1||낭만성:1||뉴미디어:1||다문화주의:1||다시쓰기:1||당신?>:1||대중연극:1||도스토예프스키 연극:1||도스토옙스키:1||도시 퍼포먼스(City Performance):1||독일 표현주의 연극:1||동시대성:1||로맨틱 리얼리즘:1||로베르 르파주:1||류드밀라 울리츠카야:1||리얼리즘:1||마노비치:1||마르그리트 뒤라스:1||마이너리티:1||매체 투명성:1||매체성:1||모스크바 예술극장 제1스튜디오:1||무대 환상:1||문예지:1||문학의 정치:1||문화상호주의:1||문화적 의미:1||문화정체성:1||미하일 체홉:1||배우:1||배우 존재론:1||보통이 아닌 몸:1||볼터:1||부재의 공동체:1||블랙페이스:1||비매개:1||비장애중심주의:1||비평적 위치:1||사실주의 드라마:1||사이트(Site):1||상호매체적 공연:1||상호텍스트성:1||색맹 캐스팅:1||생명력:1||서구연극론:1||서구연극론 수용:1||설공찬전:1||성기웅:1||소비에트 해빙기:1||소설의 연극화:1||시스템:1||신극:1||신체행동방법:1||아름다움:1||아카데미즘:1||안톤 체홉의 희곡:1||얀 라우어스:1||양혜규:1||에디토리얼:1||에프로스:1||여석기:1||여성연극:1||여성주의 연극:1||역할:1||역할 창조:1||연극 공간:1||연극잡지:1||연기 테크닉:1||연기론:1||예술가 편>:1||예프레모프:1||위치:1||이성열:1||이해랑:1||이해제:1||인종주의:1||자기반영성:1||자유의지:1||자이니치 희곡:1||자크 랑시에르:1||장소(Place):1||장소성(placeness):1||장소특정적 연극(SiteSpecific Theatre):1||장소특정적연극:1||전위극:1||정복근:1||정체성:1||정치적인 것:1||제2모스크바 예술극장:1||조르조 아감벤:1||종합잡지:1||중년여성관객:1||지리다도파도파 설공찬전:1||체호프 연극:1||카니발적 웃음:1||카마 긴카스:1||크네벨:1||탈식민적 상황:1||탈식민주의:1||탈식민주의 연극:1||톱스토노고프:1||팔림프세스트:1||패러디:1||페미니즘:1||포스트브레히트:1||포스트드라마 연극:1||하이퍼매개:1||한국근대 리얼리즘 연극:1||한국연극의 현대성:1||한상철:1||햄릿:1||현대의 영웅:1||현실:1||현실의 난입:1||호모 사케르:1||환경연극(Environmental theatre):1||힘겨운 노동>:1||<Andersen Project>:1||<Flame>:1||<Idiot>:1||<Isabella’s Room>:1||<Jujube Tree>:1||<Peerless>:1||<Russian Jam>:1||<SWEAT 스웨트: 땀:1||<Sweat>:1||<The Malady of Death>:1||<The Spring Song Flows to the Sea>:1||<Why fight?>:1||<갈매기>:1||<굿모닝?체홉>:1||<놀랬지?체홉>:1||<대추나무>:1||<러시안 잼>:1||<백치>:1||<벚꽃동산>:1||<봄의 노래는 바다에 흐르고>:1||<불꽃>:1||<세자매>:1||<안데르센 프로젝트>:1||<왜 싸워?>:1||<웬일이세요:1||<위기의 여자>:1||<이사벨라의 방>:1||<인어전설>:1||<인정투쟁:1||<죽음에 이르는 병>:1||<피어리스: 더 하이스쿨 맥베스>:1||1950~60년대:1||1960s:1||1960년대:1||1970s:1||1970년대:1||A.P. Chekhov:1||Academism:1||Acting method:1||Actor:1||Actor’s ontology:1||Anton Chekhov’s plays:1||Artist’s Part:1||Blackface:1||Blind Casting:1||Chekhov:1||Chekhov Theater:1||Dostoevsky:1||Extraordinary  Bodies:1||Giorgio Agamben:1||Haegue Yang:1||Han Sangchul:1||Hong Haeseong:1||Hong Haesung:1||Hyper Mediacy:1||Illusion:1||Intermediality:1||J.D. Bolter:1||Jacques Ranciére:1||Jan Lauwers:1||Japanese Korean:1||Jung EuSin:1||Jung Uishin:1||

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Sookmyung Women's University. Cheongpa-ro 47-gil 100 (Cheongpa-dong 2ga), Yongsan-gu, Seoul, 04310, Korea02-710-9127

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