오태석 연극에 나타난 배우의 시선(視線)에 관한 연구 : 「운상각」공연작품을 中心으로

다국어 초록 (Multilingual Abstract)

In the drama of Oh, Tae-Suk, we can see the stage full of novel signs of the drama. The treatment of actor's eyes is very remarkable among the symbols. Oh, Tae-Suk has been consistent in using the expression grammar called 'eyes of Non-Doo-Rung' derived from 'Dialogue of Non-Doo-Rung' during his almost thirty year career. He used to produce an unusual and impressive stage by conventionalizing actor's eyes. That can be explained as the four following forms;
() the first form is 'the eyes with irrelevant act'. An actor would look at the irrelevant place or neglect his main work and miss the point while he gives the counterpart dialogue in the stage.
() the second is 'the eyes with staring at the guest seat'. An actor would look at the guest seat straightly without turning his eyes when he tells the persons directly besides him.
() the third is 'the eyes with reflecting mirror'. An actor would act as see himself and the counterpart, setting the seat into a mirror.
Above all, the three forms would be called as 'eyes of Non-Doo-Rung'.
() the fourth is 'the eyes with gIvmg all at once'. As the opposite of 'eyes of Non-Doo-Rung', an actor would place emphasis on the pointed place by giving all eyess to a person appearing at the stage at a moment and gathering up a guest's eyes.
The types of the above eyes, I can say, would be made from the following four stage aesthetics: ) demolish of the fourth wall and participation of the guest ) recreation of convention and globalization ) simplification of abbreviation and leap ) overturning and theatrics 'eyes of Non-Doo-Rung' must be a productive elements of performance towards actors, but entertainment towards guests. Asking the actors embodied with Oh's drama, therefore, I came to know that 'eyes of Non-Doo-Rung' would be effective on the four factors - tension laxity, concentration reinforcement, imagination enlargement, and transmission of vocalization and dialogue. The treatment of actor's eyes would be rooted from the actor's behavior. In the stage of Oh's there are something more to be studied beyond 'eyes of eyes of Non-Doo-Rung' ; performing barefoot, non -makeup, act of a dead level, and staring someone in the face.
Through the drama, we can review and correct the social defects in the great meaning as well as personal weakness in the narrow one. Once again, an actor's eyes is very important factor in the drama. However, unfortunately, I have not found any papers concerning this kind of the same subject by now.
In conclusion, as pointed out by a drama scholar, I want to suggest that the treatment of actor's eyes must be studied more in depth by using the theory developed from psychology and nuero-linguistics.
* Non-Doo-Rung means, in a dictionary, a raised border between individual rice fields.

목차 (Table of Contents)

• 목차 = 0
• I. 서론 = 1
• 1. 연구목적 = 1
• 2. 연구방법 = 5
• II. 인간의 시선과 배우의 시선 = 10
• 1. 인간의 지각행위로서의 시선 = 10
• 2. 배우의 표현행위로서의 시선 = 13
• 1) 배우자신과의 관계 = 15
• 2) 관객과의 관계 = 18
• 3) 상대배우와의 관계 = 21
• 4) 정면시선 = 23
• III. 오태석의 연극에 표현된 배우의 시선 -「운상각」공연작품을 중심으로- = 26
• 1. 오태석 연극에 나타난 '논두렁 시선'의 양상 = 26
• l) 딴청 시선 = 28
• 2) 객석 응시 = 35
• 3) 거울반사의 시선 = 39
• 4) 몰아주기 시선 = 45
• 2. '논두렁 시선'의 양상에 따른 '오태석 문법' = 50
• 1) 제 4의벽 허물기와 관객의 참여 = 51
• 2) 전통의 재창조와 세계성 = 58
• 3) 생략과 비약의 단순미 = 69
• 4) 거리두기와 뒤집어 보기 = 77
• 3. 배우의 체언(體言)으로서 '논두렁 시선' = 81
• 1) 긴장 이완 = 83
• 2) 집중력 = 89
• 3) 상상력 = 92
• 4) 발성과 대사 전달 = 94
• Ⅳ. 결론 = 97
• 참고문헌 = 97
• 부록 : 「운상각」공연 대본과 등장 인물의 행동선과 시선 표시 = 97
• Abstracts = 97