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The purpose of this research is to investigate the possibility of creating new theatrical contents by performance anthropological approach. Today`s traditional performing arts are historically descended and developed in the forms of Ahk, Hee, and Geuk. Among those, Dongrae-yaru is a traditional mask dance, handed down in Dongrae, Pusan and appointed as the 18th intangible cultural asset. Its performance is carried out in the juxtaposition of Ahk, Hee, and Geuk. Korean theatre in the 21st century seems going back to realism after going through post-modern cultural phenomenons. However, the quest for alternative theatre is raised higher than ever. As a part of this strive, this paper asserts the traditional performing arts should be investigated as an alternative and new theatrical form. Among those traditional performing arts, Dongrae-yaru is selected for its well balanced combination of Ahk, Hee, and Geuk. The study examines in depth how each element of Ahk, Hee, and Geuk, they are expressed in forms of folk music, refined dance, jest, satire, wit. Its investigation on the stage adaptation provides the possibility for the new style and codification as the new theatre contents.

The purpose of this research is to investigate appropriate usage of pansori`s method of breathing, sound making, and resonance in order to develop actor`s aesthetic voice. Today`s theatre no longer see inter-cultural approach as new or experimental, but see it as a part of global current. Actors are required to integrate some global-ness into their acting. It`s not enough, however, for actors to equip some cosmopolitan sensibility. More important thing is that they should be able to integrate one`s own culture and aesthetic into their performance. Only after acquiring one`s own cultural identity, it is possible to step into inter-cultural work. It is fundamental, therefore, for actors to assimilate traditional movement and aesthetic voice. It`s been known that traditional Korean voice traits are well preserved in Pansori. In this paper, based upon well-known theories and practices of western voice training, pansori`s principles and practices are utilized to bring a new aesthetic voice.

The purpose of this study was to analyze self-regulation about changing heart rate and perceived arousal variation when actors start their performance. Object of this study were 5 actors who belong to the theater selected using the purposive sampling method. This study used a measuring instrument of heart rate to measure arousal status, used behavior observation paper to observe and record self-regulation behavior and executed personal consultation after ending performance. There was graph mad by variation transition which calculated average and standard deviation about variation of heart rate each time of performance. The results of this study were as follows. First, there were high variation of awake level that actor`s heart rates were rising before starting performance and the most high level of arousal was from 20minutes to 5minutes before starting performance. Second, there were self-regulation behaviors appeared such as deep breathing, breath controling, self talking, talking with other actors, concentrating an script, going to toilet, smoking, checking closes before starting performance. Third, when performance start, actors used psychological self-regulational method such as relaxation, self concentration, confidence reinforcement, coping with state or accommodation for controling raised arousal status.

The purpose of this study was to develop psychological skill training program for actor with considering the ecological validity of social, cultural environment in Korean but also examine the effect of psychological skill training through psychological counseling and field study to decrease stage-anxiety. The experimental group were 2 actors, who were selected by purposive sampling. The psychological skill training program to decrease stage-anxiety for actor was composed of five stages, 12times and categorized as orientation, breathing regulation, progressive relaxation training, group counseling, heart rate bio-feedback training, self concentration, routine training, behavior therapy & self reinforcement, image training. The effects was examined on stage performance anxiety scale, psychological counseling and observation of experts. As the result of applying the psychological skill training to decrease stage-anxiety, cognitive state anxiety, somatic state anxiety were decreased. According to the result of counseling and observation, they were changed affirmative on self confrontation, harmony and rapport between actor and object. This result demonstrated the psychological skill training & counseling to decrease stage-anxiety for actor were effective.