This study aims to improve the Performing Arts Archive Platform 'Byeolbyeol Stage' operated by The National Theater of Korea Museum of Performing Arts into an archive web service that reflects the characteristics of performing arts. To this end, I examined the current status of the museum's archives and accumulated information resources and derived the problems of 'Byeolbyeol Stage'. To improve the website, the digital curation strategy derived from the literature study was applied to 'Byeolbyeol Stage' and a relationship visualization and record linkage service plan was devised to suit the characteristics of performing arts. The proposal was made in consideration of the flexibility and ease of use of users who use various archival web services centered on performing arts.

This s tudy a ims to p ropose items a nd t echnical el ements f or t he e stabl ishment of a danceauthority record. To achieve this goal, the study examines the international standard ISAAR(CPF) for managing records and the types and technical elements of archival records at the National Archives. It also investigates the types and technical elements of the National Theater's digital archive and the Art Archive Seoul Museum of Art the characteristics of the field of arts. Subsequently, utilizing dance authority' records, the study extracts items and archival data targets, proposes items and technical elements for dance archival records. The proposed items in the research results include 'dancer, dance company, work title, location,' and the technical elements are based on the National Archives' areas of 'identification area, technology area, relationship area, control area' to apply detailed elements according to the items for public use.

This study aims to examine the contemporaneity of performance archive and reconsider the historicality of dance, focusing on practice and theory in contemporary dance. For this, I explored theories and discourses that arose in contemporary arts, and I have analyzed the cases of archive practice. Over past two decades, choreographers in contemporary dance have experimented contemporaneity and history through archive practice. This study focuses on historical concepts of archive in order to find the meaning of the choreographer’s re-enactment. In this study, I refer to Walter Benjamin and Michel Foucault’s proposal on history and archive to construct the theoretical frame of this study. “Actuality” in Walter Benjamin’s philosophy is heterogeneous time modes of the past and the present in singular moments, and it presents reality. Foucault suggests archive as a system of transformation and severance. He exceeds common perception of linear history with an archeological approach. To examine how choreographers apply archive to their work in a level of choreography and body as medium of dance, I have chosen the works of two choreographer: Yvonne Rainer and Boris Charmatz. Rainer uses the methods of “repetition” and “representation”, which transmit from one body to others in her . She suggests performative archiving to produce new creations in the process of returning to the original. Charmatz writes new history, which is established between dance history and a dancer’s memories in the present time. They both emphasized that a body is the subject of both dance and real life because every segment of history inhabits the body. Therefore, there are no distinctions between archive and body in dance. In this study, I discuss performance archive being toward embodied actualization with the choreographic approach. Performance archive is not only a form or style of dance but also questions, engagement, relationships, and enactment of the objectivity and subjectivity of dance. In this light, the choreographic is the way to create both dance and history.

This study looks into the relationship of archive and dance practices by examining a case of archive applied choreography and I discussed the creation and discourses of contemporary dance which tends to archive. For this, I took a part in work of by Min Kyung Lee and João dos Santos Martins and I discussed the choreography which archive was applied. This work was developed into choreography by collecting and newly contextualizing many reworked versions of Vaslave Nijinsky(1889-1950)’s through archive methodology. For this research, I applied Studio-Based Research in order to investigate in the field of work. I found elements that deal with the choreographic approach to archive in . First, the relationship of author and reenactor. A certain arts piece guaranteed authorship and this as the original guaranteed status in the past. However through a choreographer’s translation it seemed like a resistance against power and hierarchy given by history. Secondly, the relationship between mimesis and creation. Through many repetetion of the original piece, differences are made with it, and in the translated works exists ‘singularities’. Thirdly, the embodiment of history. A choreographical approach to archive is to actualize the past through bodies and dance. Choreography which is based on archive organizes remaining documentation by a mechanism of dance and performance and to share with the audience. Through this study, as I tried to explore the relationship of archive and choreography in a practical sense, I would suggest a perspective on the production of creations and discourses in contemporary dance using the archive.

The research on "the data status and data use case of Simso Kim cheon-heung" started from the importance that the Kim Cheon-Heung Collection can be seen not only as an individual archive, but also as a manual of an extended artistic record and utilization method of performing arts. This study has a second purpose of sharing information to be a mediator of researches on Kim Cheonheung by grasping the current status of the materials and the cases that have been utilized. As a research method, I focus on the activities of the Korea Dance Resource Center, which I have participated in the past, and analyze event materials (event plan, programs, materials, books, etc.) Related site search. In addition, I analyze the case of reconstruction of Cheoyongrang. I expect that this study could be seen as a reference in the creation or reproduction of archiving.

This study aims to examine dance exhibitions as a way of putting the dance archival theory into practice. For this, I explore performance theories which are relevant to a dance archive and look into two dance exhibitions, Judson Dance Theater: The Work Is Never Done by MoMA and Known Future by SeMA, which reflect the new performance archival theories. These exhibitions have three features. First, the present is one of vital matters in the exhibition. Second, tangible and intangible archive are acceptable. Third, visitor’s action is a part of exhibition. These features show a dance exhibition can be a way of putting the dance archival theory into practice. In addition, these two exhibitions show that a dance exhibition is an effective way to hand down a valuable dance to next generation, because less time and space constraints than a performance can make more people have diverse experience about dance. I suggest that a dance exhibition is a good way of putting dance archival theory into practice.

This study aims to explore the critical approach toward media in contemporary dance, which avoids conventional understanding of dance and artistic media. After reviewing important contexts and debates concerning contemporary dance, this study discuss the matter of its ambiguous boundaries and expansion through the concept of intermediality.

The idea of performance and dance with its ephemeral nature and media being used to preserve it, has constituted a conventional understanding of its temporality. However in contemporary dance, the archive expresses the request for extended temporality that enables the simultaneous existence of what is remaining, what is captured, and what is progressing in the performance. In addition, these archives expand into living spaces so that performances can lead to theoretical, educational, or political discourses, and function as a mediating space where heterogeneous entities such as art, virtual reality, and real life meet.

Moreover through this study, I wish to illuminate the expanded understanding of media in contemporary choreography as a criticism on previous media conventions, by introducing certain examples of autobiographical performance pieces in which the performer tells his or her own story. These works show the blurred boundaries among verbal languages, documents, and corporeal performance. They also bring participants in communication with performers, who can be understood as a physical archive of memories and experiences, roaming the ambiguous space inbetween reality and arts. Accordingly, an autobiographical performance creates an intermediality that allows the body-archive to experience and construct the virtual identity of the body in a fragmented manner.