This study aims to re-examine stage makeup as a performative site where identity is constructed and transformed, focusing on the Daemyeon character in the performance ⸢Silla Ogi⸥. Moving beyond traditional decorative perspectives, it proposes axonometric projection as a visual methodology to structuralize and analyze the multiple identities of characters within a four-sided stage environment. For this purpose, the research integrates theoretical concepts of performativity, identity, and axonometric projection, while analyzing makeup structures through performance records such as videos and photographs alongside field observations. Specifically, by applying axonometric illustrations to structuralize how makeup is perceived across multiple viewpoints—front, side, top, and rear—the study reflects the dynamic interaction between the actor’s body and the audience’s gaze. The analysis demonstrates that Daemyeon makeup operates as a performative sign system where identities are rearranged rather than fixed. Through axonometric analysis, distinct relational structures for each viewpoint—confrontation (front), parallelism (side), circulation (top), and intentional blankness (rear)—are revealed, effectively visualizing the ‘multistability’ of identity where the emphasis of makeup elements shifts according to theatrical conditions. In conclusion, stage makeup serves as a performative apparatus that generates emergent meanings through the interaction of actors, audiences, and space. This research proves that axonometric projection is a valid analytical tool for structuralizing the transformation of identity on stage, thereby expanding the conceptual boundaries of stage makeup and providing a new framework for makeup design education and creative practice.
Lee et al. (Tue,) studied this question.