This study aims to explore the life and art of Alexander Ekman, examining and critically analyzing the artistic characteristics of Ekman's reinterpretation of the classical work Swan Lake. The research discusses the multidisciplinary artistic elements present in this work from a critical perspective. For this purpose, the study utilized domestic and international video materials, reviews, and resources from Ekman's official website.The findings are as follows: First, from a choreographic perspective, Ekman structures the entire piece around the directorial element of 'situation,' integrating movements from ballet, tap dance, and musical theatre with theatrical elements to intuitively shape the performance. Second, he separates or deconstructs Tchaikovsky's original score while incorporating voice as an additional sound element and using the element of 'water' both visually and aurally. Third, Ekman employs dialogue from theatre to enhance dramatic situations and stage transitions, merging these with movement to expand the scope of his direction through the everyday nature of theatre. Fourth, he maximizes the effect of objects, stage sets, and installations to incorporate the mise-en-scene effect into the work.This study seeks to serve as a foundation for understanding the multidisciplinary and artistic innovations in Alexander Ekman's reinterpretation of Swan Lake.

Korean ballet has made a great breakthrough both artistically and academically. However, most of the academic research have been conducted focusing on creative or modern ballet, lacking an attention to how a full-act premiere of a classical ballet was first formed. In this study, we aimed at ascertaining historical truth about how the first full-act premiere of performed in October of 1967 at Seoul Civic Center was planned and evolved. We collected and analyzed historical literature materials and conducted as well as conducting interviews with central figures. Our historical contemplation indicated that the premiere of of 1967 was a product of an collaborative efforts from multiple countries and sectors in the society. Also it functioned as an opportunity to let the world realize and experience the artistry and attractiveness of Korean ballet. More importantly, the social value of the premiere of could be found in its ‘catalytic function’ for social integration which elicited voluntary efforts and collaboration for a successful completion of the premiere.

This study focuses on strategies to promote new content based on storytelling with the case of in particular in order to make dance more mainstream. As the importance of intangible assets such as knowledge, creativity and information emerged in recent years, stories have been presented as a basic element of business to be commercialized. The story of Cheoyong is a leading example of where a narrative work that is latent in the subconscious of the public has been approached from various angles. To shed light on the artistic value of dance that uses the story of Cheoyong as its theme, this study reviews the contemporary patterns in which the story of Cheoyong has been adapted to dance performances. Moreover, , one of the major repertoires of the world’s leading ballet companies and one of the three major classical ballet works, is reviewed in terms of how dance content can be brought into the consciousness of mainstream culture. has also captured the theme from folklore of the West, just as in similar cases in the East. The storyline has become latent in the subconscious of the public that drives the art work, which then affected works in a wide array of art fields. Lastly, to review the universal value, the narrative structures of and were compared in terms of how stories can lead to a chain of reminders, thus shedding light on the trends in dance performe art.