셰익스피어의 확장된 ‘영화적 텍스트’

조성덕(Chough Song Duk) 한국영화학회 2011 영화연구 Vol.0 No.48

The purpose of this study is to review and investigate into Kurosawa Akira’s ‘Throne of Blood’, which was the film adaptation of ‘Macbeth’ and also another cinematic and violent adaptation, Roman Polanski’s ‘Macbeth’. This study will also focused on the significant methods and techniques of film adaptation in terms of Shakespearean adaptation into film media. The study will research the main efficient methods and essential themes of film adaptations of Kurosawa and Polanski. In fact, although both films were based on same text, William Shakespeare’s The Tragedy of Macbeth, they had very different filmic and artistic styles in terms of filmic adaptation. Firstly, Kurosawa Akira’s film adaptation of ‘Macbeth’ was called as ‘Throne of Blood’ but this version was adapted by the style of Japanese ‘Noh’, which has been the classical japanese theatre genre. And secondly, Roman Polanski’s film adaptation of ‘Macbeth’ was also mainly regarded as the most violent and increasingly graphical film adaptation ever made, since Polanski’s main objective was to describe the essence of the modern violence itself. Both movies have received a great reception from critics, however this study will mainly investigate into the secret methods of how to adapt Shakespearean works into modern films efficiently. In addition to the thematic elements, we will see and understand why these two adaptations have been regarded as great achievements in terms of successful Shakespearian filmic adaptations.

작가의 주제를 투사하는 ‘장치’로써의 코미디

조성덕(Chough song-duk) 한국영화학회 2010 영화연구 Vol.0 No.45

This study will investigate into the primary role of comedy films in terms of being a tool for portraying various themes of directors. Jacques Tatischeff, who has been well known as a modern france comic hero in our cinema history but also a great comedy writer and director, always tried to pursuit the sound way of creating real valuable and realistic comedy films which could make the audience understand clearly what the real meaning of 'Ideal Modernization of France' is. Jacques Tatischeff firmly believed that the old tradition of France should be kept safely for also the future generation. Therefore Tatischeff used his great talent in portraying realistic and comic cinema in terms of portraying the reality of his nation and society, and he always tried to show the possibility of ideal France society in terms of 'Anti-Americanization' and also 'Sound Modernization'. Tills paper will also deal with the principles and methods which Jacques Tatischeff did use in terms of creating realistic comedy films. Also in addition to the analysis of Tati's great comedies, we will also carefully investigate into the true conceptions of 'Americanization' and 'Modernization' in terms of france modem society history. But the research also dealt with the primary role of comedy films in general. Jacques Tatischeff seemed to have the strong belief that his comedy films could portray clearly the reality of France modern society. Tatischeff's comedy films could gave the audience the clear view of the futuristic comedy genre which could expand the conception of post modernistic comedy films. In fact, Tatischeffs films were not only based on the existing comedy convention but also on the realistic ideas and facts which Tatischeff always cared about. As a realistic and a thoughtful film director, Jacques Tatischeff could show the audience the realistic conception of futuristic and post modernistic comedy films. The paper will also look into the basic and fundamental principles of how comedy films should be created in terms of being post modern comedy films. In addition we will also see and learn how Jacques Tatischeff could create the new comedy with his new techniques. Lastly, Jacques Tati's new conception of comedy films, which could be defined as 'comic cinema', should be investigated fully and carefully in this study because his new and creative notion about comedy film might be the new ideal model for creating realistic comedy films in our future history of the cinema. In conclusion, in order to explore fully the true conception of ideal comedy films, I firmly believe that the conception of Tatischeff's ideal comedy might be very helpful for learning rules of making realistic and modernistic comedy films.

현대연극 : 피터 브룩과 예지 그로토프스키 연기 훈련법의 실증적 비교 고찰 -스타니슬랍스키와 브레히트 연기론 관점에서

조성덕 ( Song Duk Chough ) 한국브레히트학회 2011 브레히트와 현대연극 Vol.0 No.24

Peter Brook und Grotowski haben gemeinsam, dass sie beide von Brecht stark beeinflusst worden sind. Ihre Schauspielausbildungsmethoden und Schauspieltheorien haben auf die westliche Theaterwelt einen großen Einfluss ausgeubt. In der vorliegenden Arbeit sollen die Schauspielausbildungsmethoden von Peter Brook und Grotowski miteinander ausfuhrlich verglichen und auf ihre Vor- und Nachteile untersucht werden. Unter anderem hat Peter Brook in seiner Arbeit behauptet, dass das Sichtbarmachen des Unsichtbaren das endgultige Ziel einer Schauspielausbildungsmethode darstelle. Dagegen vertritt Grotowski die Ansicht, dass das Wichtigste bei einer Schauspielausbildungsmethode darin bestehe, dass der Schauspieler seine eigne Welt erforscht und den Zuschauern seine wahren Seiten zeigt. Einerseits weisen die Schauspielausbildungsmethoden beider Direktoren hinsichtlich konkreter Methoden Unterschiede auf, andererseits haben sie gemeinsam, dass sie auf Grund der von Brecht postulierten Effekte die bisherigen westlichen Schauspielausbildungsmethoden weiterentwickelt haben. In der vorliegenden Arbeit werden unter Berucksichtigung der Schauspieltheorien von Stanislavskii und Brecht die Schauspielausbildungsmethoden von Peter Brook und Grotowski festgestellt.

영화연기 고유성 측면에서 바라본 할리우드 메소드 연기의 반작용

조성덕(Chough, Song Duk) 한국영화학회 2013 영화연구 Vol.0 No.55

This paper will concentrates on the comparative analysis between ‘Method acting’ and ‘Non-method acting’ in terms of Hollywood film acting style. Hollywood film acting, or screen acting has been considered as a ‘emotional acting’ which was loosely based on so called ‘American Method acting’, which was created by American Film acting teacher Lee Strasberg. Because of his fame and his famous hollywood actors and actresses including Marlon Brando, James Dean and other many method acting Stars. However Lee Strasberg’s so called Method acting has been harshly criticized for its concentration on the ‘inner emotional acting’. In terms of ‘real traditional hollywood film acting’, this paper will also investigate the ‘physical film acting skills’, which can be defined as ‘Non-Method acting’. In fact, many hollywood traditional film stars did not use Method acting techniques. Even famous directors like John Ford criticized and pointed out the weakness and faults of American Method acting skill. While the Actors Studio became the leading flm acting institute in hollywood in terms of film acting teaching because of Strasberg’s famous film actors, most of traditional film actors like John Wayne or Humphrey Bogart did not trust at all any kinds of ‘Method acting’ but only their own but traditional, unique hollywood ‘physical film acting skills.’ In addition to the evolution of physical hollywood film acting techniques, we will also try to discover true essence of hollywood’s traditional screen acting skillsin this paper. Also this paper will deal with many practical but specific physical film acting skills like ‘Creating Pictures with actors’ bodies’, ‘Standing still in the frame’ and other many practical skills used in Hollywood traditional genre films. In conclusion, the true aim of this paper is to analysis and investigate the real method of hollywood traditional film acting skills. In fact, nowadays most famous film acting skill and teaching books consist of many ‘physical film acting techniques’.

후기 메소드 영화연기 훈련기술을 응용한 영상연기 훈련법

조성덕(Chough, Song-Duk) 한국영상제작기술학회 2013 영상기술연구 Vol.- No.18

This paper will investigate into the specific acting training skills of Stellar Adler and Sanford Meisner’s film acting training tools. ‘American Method acting’, or so called ‘Method acting’ has been regarded as a true and unique hollywood film acting training and skill in the history of american cinema acting education. However Lee Straberg, who was the found of method acting, was also harshly criticized by other acting teachers including Adler and Meisner because of his concentration on the specific skill of ‘emotional memory’. While Adler and Meisner’s alternative film acting techniques have been accepted as ideal modern hollywood film acting training tools, these acting training tools also have their own weakness. In this paper we will investigate and study about the true alternative film acting training tool because no single or unique acting skills could not solve the real problems of nowadays film acting. Therefore ture ideal acting technique should be investigated and the aim of this papar will be finding the way of creating a new alternative screen acting training skill.

에이젠슈테인의 영화연기론

조성덕(Chough, Song-Duk),김종국(Kim, Jong-Guk) 한국만화애니메이션학회 2016 만화애니메이션연구 Vol.- No.45

이 글은 러시아 몽타주로 유명한 에이젠슈테인(Sergei Eisenstein)의 영화연기론을 분석한다. 기존의 논의에 의하면, 그는 컷 액팅(cut acting)과 같은 개념을 통해 심리적 사실주의 연기를 지양한다. 에이젠슈테인은 컷 액팅의 의미를 숏으로 분절된다는 것으로 설명함으로써, 몽타주와 같은 방식으로 이해한다. 연결 몽타주의 푸도프킨이 스타니슬라프스키의 연기론과 연관된다면, 충돌 몽타주의 에이젠슈테인은 마이어홀드의 연기론과 관계된다. 이 글은 에이젠슈테인이 자신의 몽타주론을 설명하는 곳곳에서 제기한 연기 및 배우에 관한 관점을 추적한다. 에이젠슈테인이 저술한 글들을 모은 『영화감각Film Sense』(1942)과 『영화형식Film Form』(1949)을 중점적으로 고찰한다. 국문과 영문 중심의 국내외 문헌을 검토한 결과, 에이젠슈테인의 영화연기론을 분석한 논의가 매우 적다. 거의 대부분이 몽타주론에 집중되어 있고, 그 가운데 연기에 관한 언급이 극히 제한적으로 이뤄지고 있다. 에이젠슈테인이 제시한 컷 액팅과 전형화의 개념, 있는 그대로의 생생한 감정을 표현하고 유발하는 배우의 내적 기법과 과정, 내적 언어의 하나로서 다양성 속의 총합을 이루는 연기 등은 현대영화의 창작과 사례 분석에 유용한 개념들이다. 특히 에이젠슈테인의 몽타주 기법을 가장 직접적이고 인상적으로 만날 수 있는 만화, 웹툰, 애니메이션의 창작 과정에 그의 매체 연기론을 적용할 수 있으며, 분석을 위한 수많은 관련 사례들을 찾아볼 수 있다. 이것이 지난 에이젠슈테인의 영화연기론을 되짚어보는 이유이며, 논의의 결과물들은 관련 연구의 파생을 위한 충분한 토대가 될 것이다. This article analyzes Sergei Eisenstein"s acting theory, which is famous for his Russian montage. According to the existing discussions, he avoids the psychological realism through the concept of cut acting. It is a method like montage from the viewpoint that the practice of the cut action is segmented into shots. While Vsevolod Pudovkin, who asserts a connection montage, is looking for performance to portray a gradual change of emotion adopted by Konstantin Stanislavsky"s psychological realism, Eisenstein prefers the acting of Vsevolod Meyerhold"s masks in the same manner as the collision montage. This article traces the viewpoints on acting and actor that Eisenstein posed throughout his montage theory. It focuses on Film Sense(1942) and Film Form(1949), which are a collection of articles written by Eisenstein. As a result of examining the domestic and foreign literatures centering on Korean and English, it is hard to find the discussions on the analysis of Eisenstein"s acting theory. Almost all of them are concentrated in his montage, among which the mention of acting is extremely limited. The cut acting, the typage, the inner techniques and processes of actor that express and induce the living emotions, and the acting of the integrating into diversity as one of the inner language are useful concepts in the creation and case analysis of contemporary films. Especially, his acting theory can be applied in the creation process of cartoons, webtoons, and animations which can meet the most decisive and impressive montage technique of Eisenstein. It is also possible to find many related cases for the analysis. This is why I look back on Eisenstein"s film acting theory, and the results of the discussion will be a sufficient foundation for the derivation of related research.

디지털 시대의 영화연기 교육 대안

조성덕 ( Song Duk Chough ) 한국디지털영상학회 2005 디지털영상학술지 Vol.2 No.2

연기이론의 유동성에 대한 고찰 : 후기 메소드 연기이론의 방향과 응용연기 이론의 몇 가지 예를 통해

조성덕 ( Song Duk Chough ) 한국디지털영상학회 2006 디지털영상학술지 Vol.3 No.2

크라카우어의 영화연기론

조성덕(Song-Duk Chough),김종국(Jong-Guk Kim) 한국콘텐츠학회 2016 한국콘텐츠학회논문지 Vol.16 No.9

이 글은 전통적인 영화론의 기초적인 접근 방법을 제시한 크라카우어의 영화연기론을 검토한다. 크라카우어의 영화미학은 인문학과 예술학 분야에서 다양하게 소개되었지만, 현대 영화연기의 기초를 제시한 그의 연기론은 거의 소개되지 않고 있다. 크라카우어(1960)는 『영화론』의 ‘배우에 관한 장’에서 영화배우가 전통적인 연극배우와 어떻게 다른가를 설명하면서, 영화연기의 매체 기술적 의미 등을 제시한다. 그의 영화연기론은 전후 새로운 리얼리즘을 제시하는 연기양식을 강조한다. 그의 접근 방식은 『영화론』의 기본 전제인 ‘물리적 현실’ 또는 ‘카메라 현실’의 관점을 취한다. 크라카우어는 배우의 형태를 나열하는 익숙한 구분법으로 전문배우, 비전문배우, 할리우드 스타의 특징을 열거하면서, 배우의 자연스러움을 강조한다. 그는 할리우드 스타를 선호하지는 않지만, 다큐멘터리이든 극영화이든, 전문배우이든 비전문배우이든, 영화매체의 비결정성 또는 불명확성에 기반한 연기하지 않는 연기를 강조한다. 크라카우어가 정리한 영화연기론은 후대의 영화론 및 미디어 관련 연기론에 영향을 미치며, 현대의 영화교과서 및 영화연기의 원론이 되고 있다. This article reviews the film acting studies of Kracauer presenting the basic approach of traditional film theory. It is to provide a foundation for film acting theory in order to activate the domestic acting studies. While Kracauer explaines the difference between traditional stage actor and film actor in Remarks on the Actor of Theory of Film(1960), he suggests the characteristics of the cinema acting and its media technical meanings. He emphasizes the acting forms presenting the postwar new realism in his film acting studies. His approach takes the perspective of ‘physical reality’ or ‘camera reality’ which is the basic premise of film theory. Kracauer insists the naturalness of the actors, listing the features of professional actors, non-professional actors and Hollywood stars as they are a familiar classification for the types of actors. He does not prefer the Hollywood stars, whether it is fiction or documentary, professional or non-professional actors, but he emphasizes negative acting, the ability to express words by doing nothing, based on indeterminacy or indefiniteness of the film. Kracauers film acting studies has affected later film theory and media-related acting, and has become the principles of cinema textbook and acting.

모션 캡쳐 과정에서 나타난 "디지털 액팅"의 연기미학과 연기 훈련 방법론에 대한 고찰 -메소드 연기 분석 툴을 중심으로

조성덕 ( Song Duk Chough ) 한국디지털영상학회 2009 디지털영상학술지 Vol.6 No.2

This thesis aims to examine the major characteristics of so called `Motion Capture Acting`, which also can be regarded as `Digital Acting` or `Cyber Acting`. As Stanislavksy claimed, the solid realistic acting should be justified by the actor`s own reality. Accordingly, the principles of acting can not be changed in any circumstance since the core rules of good acting has been always same. As an acting teaching professor, I have always had a profound curiosity about the possibility of digital acting, or Cyber Acting. We first look at the brief history of Motion Capture Acting, which can be translated as a true first cyber acting. In Addition. Above all I propose that Stanislasky`s `System` or `Method Acting System as the standard analysis tool of digital acting in this thesis because Method Acting System might be the only and true analysis tool for any kind of acting system. According to the results of Motion Capture, digital actors or actresses ought to follow the basic principles about realistic acting. Following these rules, actor could achieve highest reality because, as Method Acting System have taught, the true principles of good acting has never been changed. Accordingly, Digital acting can be expanded as the true tool for creating realistic and profound film or television dramas since digital character also have many common traits which normal characters possessed in our traditional films. Finally, this research will reveal the true principles of `Digital Acting` and also the future prospect of `Digital Cyber Acting`.