This study examines the significance of Korean performing arts history by focusing on the Little Angels’ organizations and management, the composition of the repertoires, and the meaning of international performing arts history. As a semi-professional organization, the Little Angels developed and operated the member selection musician system, and toured through overseas professional management in the early days. The repertoires of the Little Angels, including Korean traditional dance, music, and choral music were staged, established and systematized as the standard repertoires during the early activities of the cultural mission. Little Angels' dance was developed to be suitable for the children's group dances and the overseas staging of the new dance, and the choral repertoire, which included Korean folk songs and world folk songs played a major role in public diplomacy. As the only 'folk art troupe' among children's art troupes active in the international performing arts world, the Little Angels helped introduce Korean performing arts to the international audiences. Through the study of the Little Angels, a children's art troupe as well as a private art troupe with a 60-year history of international activities, this paper encompassed the history of Korean contemporary performing arts in a rich and stereoscopic way.

The Little Angels is one of the organizations that has served as a cultural delegation representing Korea since the barren art world of the 1960s and 1970s. One of the most outstanding achievements of the Little Angels, which celebrates its 60th anniversary this year, is the recognition of the excellence of our dance both domestically and internationally through a variety of dance repertoires. The purpose of this paper is to analyze the dance repertoire from various angles and to examine its characteristics. The characteristics of their dance repertoire include the establishment of our own repertoire as a cultural delegation, the creation of Korean dances based on New Dance, the development of categories encompassing both songs and dances, and the composition of works centered on group dances. Further, it is also characterized by the flexibility of program composition, the use of dance moves that students can perform, the educational effects that produced future leaders in the domain, the focus on the Little Angels repertoire rather than an individual choreographer, the relatively rare copyright issues, as well as the repertoire renewal appropriate to the current era. Through this research, it is possible to confirm the historical, cultural, and artistic significance of the dance repertoire that has been passed down over the past half century.

Expressions of literature or fine art create work that leaves a distinct record. By comparison, the performing arts never create work that remains afterward. Performance is a momentary art shown only in the present, and it is never affected by anything after the show. Performing arts are solely present at the time and place of a performance, making it practically impossible to preserve and store the work. In fact, maintaining and preserving the actions performed on scene has become an unresolved question in the world of performing arts. In order to maintain and preserve such moments, artificial interventions are essential, such as taking photographs or making videos. This paper aims to discuss some theoretical issues that should be taken into account in the process of documenting the performing arts. This paper will first discuss the authenticity of performance in terms of the object of documentation. Authenticity is a concept related to the identity of work. It will continue by examining Margolis’s theory of arts before exploring suitable media to record performances, such as records, body, memory and repertoire. Lastly, this paper will raise a question as to how to reflect aesthetic elements that need to be considered along with other factors in performance documentation. Ultimately, this paper suggests that performance documentation should begin to recognize the gap between performance and record. Such an approach should integrate ethnography and narrative.

The purpose of this dissertation is to analyze the National Theatre of Korea’s theater repertoire foundation using Dance, Chun-Hyang; Soul, Sunflower; and Hyang-Yeon. The analysis will be performed using the ‘the circulation structures of establishing theater repertories’ method. The results of the analysis are as follows. As a national brand performance, Dance, Chun-Hyang is a National Theatre of Korea’s unique, symbolic, identity establishment contribution. Through the production and casting, as well as extraordinary attempts in casting, various performance techniques are used to successfully achieve feedback system. The National Dance Company of Korea’s steady seller Soul, Sunflower was selected as a National Theatre of Korea’s ‘most wanted to be seen again’ performance by the audience, which can influence the company’s management policy. With its high artistic quality and box-office popularity, the piece shows an exemplary case that satisfy administrative requirements. Hyang-Yeon represents a traditional dances that been modernized. The reinvention and reinterpretation of traditional dance in this piece produce meaningful outcome that would provide the structural foundation of the repertoire. When analyzing works of art, the theater repertoire’s 3 aspects of representativeness, artistic value, and continuity has been seen to aid in ‘policy decisions’, ‘production environment’, and ‘feedback system’ for convergence and divergence.