≪사랑은 비를 타고≫를 통한 뮤지컬 연기의 실제 : 정동욱을 중심으로 = The Reality of Musical Acting Through the Musical Drama ≪Singing in the Rain≫

다국어 초록 (Multilingual Abstract)

Korean musicals experienced continuous growth throughout the 1990’s. The most encouraging phenomenon is that various test projects followed the stimulation of creative musical.
However, because of a relatively short history and insufficient financial and human support, it was difficult for Korean musicals to become up to par with foreign musicals, and as an alternative, small theater musicals were introduced.
Among them, the musical “Singing in the Rain” sets an unprecedented record as a creative musical by imitating small scales “salon musicals”. In small theater musicals, more than singing, acting is the most important element among actors’ expression elements.
What plays an important role at this time is the sound that is “drawn out from the center” through breathing. What plays the role of a medium that makes possible harmony between the mind, emotions, and the body is indeed breathing and it can be said that its relationship with the “center” is what makes the basis of acting.
It is because breathing takes place based on changes in the mind and body, and vocalization is accomplished through breathing technique that is connected to the “center.” Therefore, only sound that is connected to the “center” is able to express the true emotions of the character.
Singing in addition to acting is an essential expression technique that enhances the features of the musical. As much as singing is an extension of acting, it cannot fulfill its part merely through operatic vocalization. Singing in a Musical must be expressed as to be talking, and must deliver the character’s emotions to the audience through natural connection with acting.
In order to understand the character Jeong Dong Wook, the script was read repeatedly without bias, and from a neutral position until understanding of the character became one that is. In doing so many techniques were used to extract emotional memories.
In addition, in order to prevent certain mannerism, I gave small changes to dialogues that are exchanged with the counterpart, and tried to express feelings resulting from impulses differently each time.
This study is a close examination of character formation process of Jeong Dong Wook in “Singing in the Rain.”
Studies in this area have a weakness due to attributes of performing arts that it is an area in which a complete study cannot be accomplished when relying on writing. However, if even such studies do not exist, realization of making musicals ‘legitimate dramas’ will be far from reality.
Therefore, continuous studies focusing on Characterization from the acting perspective is needed and based on this study, future studies with fineness related to Characterization will be anticipated.

목차 (Table of Contents)

• Ⅰ. 서론 = 1
• 1. 연구의 목적 = 1
• 2. 연구의 범위 및 방법 = 3
• Ⅱ. 한국뮤지컬과 《사랑은 비를 타고》 = 5
• 1. 한국 뮤지컬의 발전과정 = 5
• 2. 1990년대의 한국 뮤지컬 = 13
• 3.《사랑은 비를 타고》의 창작과정 = 20
• Ⅲ. 작품의 분석과 연출의 방향 = 28
• 1. 작품의 주제와 소재 = 28
• 2. 작품의 구조 = 30
• 3. 음악의 구조 = 33
• 4. 등장인물들의 성격 = 43
• 5. 연출의 방향 = 46
• Ⅳ. 정동욱의 인물구축과 무대화의 특징 = 48
• 1. 어머니의 변이된 정동욱 = 48
• 1) 작품의 창작 = 48
• 2) 타이틀의 확정 = 52
• 3) 배역선정 = 53
• 2. 중심과 연결된 정서표현 = 55
• 1) 호흡과 중심, 연기의 진실성 = 55
• 2) 정동욱의 호흡과 발성, 감정과 동작 = 57
• 3) 정동욱의 노래와 연기와의 관계 = 59
• 3. 무대형상화의 실제 = 61
• 1) 배우와 음악 = 61
• 2) 시각적 요소들 = 70
• a. 장치 조명 = 70
• b. 의상과 분장 = 72
• c. 소품 = 73
• Ⅴ. 결론 = 76
• 참고문헌 = 80
• ABSTRACT = 86
• 부록 = 88
• [부록-1] 요리노래 = 88
• [부록-2] 사랑 = 89