관상학 이론에 근거한 메이크업 유형 연구 : 배역에 따른 무대분장과 관련하여

다국어 초록 (Multilingual Abstract)

Since ancient times, people have had much attention to their own destiny. Especially, they have had much more attention to physiognomy because it’s valuable academically too. Usually people take a dim view of physiognomy as a trivial technique which is used to tell someone’s fortune or future, but the truth is not simple like that.
From political relations to conduct of life and employing and making friends, Physiognomy is multipurpose. Physiognomy is so practical that we can define our view of life and polish our wisdom of life through it.
Commonly people think someone judge another by impression. But in real life, people judge a person by his or her appearance, and the judgment affect from little things to big things. If we can read other’s mind, not just see their appearance, we will not judge someone by individual preference or wrong evidence and fail in important matters.
The stage makeup needs methodical and delicate makeup planto express personality of each character and each parts of their faces. To make up to match the story of the play and the personality of the characters, it is necessary that there are some makeup plans which meet the intended character and visual effect. But in Korea, it’s hard to find some systematic data about suitable makeup for characters so normallythey makeup with individual skill which is some abstract or subjective.
Thus, in this thesis, I extracted the formative distinguishing shapes by analyze many characteristic features which we can see at the each one’s faces, based on phrenology. And applied and organized it to character types which had been classified before, so that I could make data about formative features depending on the character types. And I presented these formative distinguishing shapes which based on the physiognomy as real case study. In other words, I embodied the motives from this process to develop to various models.
Phrenology is a result that included the feeling of observingtargets that organized and analyzed systematically and many people’s live pattern arranged statistically. As people judge others based on physiognomy, character makeup based on physiognomy will make good results on from each tiny parts of one’s face to general image. If in theater arts, actors are cast in proper part which he or she can express the point that symbolize the characteristic of characters, based on phrenology, it can maximize the effect of the stage makeup. Also, because of the various changesof image that once was formulaic and caused by changes of production environment, now the stage makeup need more natural, internal and comprehensive aspect. In this trend, I think the symbolic image which emphasizes the characteristic parts of a character will show a rising tendency.
In this varying flow, if we are not satisfied with limitaryand formulaic image and create the makeup which can express detail parts of face to make new image of stage makeup, the role make artists can be at forefront. The most important function of makeup is to help the actor or actress really becomes the character he or she acts. Therefore, in the creation process of the characters, enough understanding of phrenology will be a great help and thus the introduction of phrenology will be a guidelines for improvement in understanding and sympathy in stage makeup.
This thesis, ““The study about makeup types based on phrenology””is just start for systematictheory establishment. And Iam sure that we can bring the stage makeup to perfection through enough comprehension and study of phrenology and create the creative and originative character makeup. Taking this opportunity, I hope that phrenology fuse with stage makeup so meet the demands of the times that want various images.

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1. 연구배경 및 목적 1
• 2. 연구내용 및 방법 3
• Ⅱ. 관상학의 이론적 고찰 5
• 1. 관상학의 기본이론 5
• 2. 관상학의 세부이론 24
• Ⅲ. 무대분장의 이론적 고찰 45
• 1. 무대분장의 개념 45
• 2. 무대분장의 역할 58
• Ⅳ. 분장작업에서 역할별 성격의 관상학적 적용 68
• 1. 성격유형의 지표 분석 68
• 2. 얼굴의 형태별 성격 특징 76
• Ⅴ. 성격유형별 분장모형 제시 82
• 1. 성격유형별 ‘눈썹과 눈’의 분장모형 82
• 2. 분장모형의 적용사례 88
• Ⅵ. 결론 92
• ◈ 참고문헌 95
• ◈ ABSTRACT 100