논문 : 《악령》의 창조과정에 나타난 연극무용(Theater-Dance)의 창작 방식

나진환 ( Jin Hwan Ra ) 한국연극교육학회 2011 연극교육연구 Vol.18 No.-

This thesis is based on knowledge acquired by means of artists` practical experience from the perspective of ethnoscenology, the performance studies. This thesis can be said as explanation of empirical knowledge of practical experience that the writer has obtained in the course of describing ``Theater-Dance``. More precisely, this is a thesis about the creation course of <The Possessed> being performed under the direction of the writer in the Towal Theater, Seoul Arts Center from Nov. 8, 2010 that was the original work of F. M. Dostoevskii and play-scripted by Albert Camus. After all, this creation course is an empirical knowledge system explaining how a text is created in the form of a theater-dance. Accordingly, this thesis is about an empirical knowledge system as courses and systems of the creation method including ways of thinking and thought system for direction. And the terms and creation methods used for this work are not the writer`s unique ones but those that have already been established by various creators and theorists, which were accepted, changed and developed for the writer`s creation course. First of all, the first step is in the selection of a text. This selection is a definite answer to the question whether it appears as a conversation between an author and me and has universality of being extended to present phenomena. Therefore, interpretation of a text is work of seeing me in such mirror and the exact understanding of the concrete shape shown in the mirror forms the main theme that the work intends to tell. Through such course, the creation course is progressed as follows. The first is to establish main space as visual materialization of the thematic concepts. Main space as realization of the thematic concepts is operated by the space structure being realized according to the story structure. Chains of this space are visualized by grouping incidents and then converting them into the concepts of space. The next is to derive the story structure by rhythmizing the units of space composing the chains of space. Rhythmization means giving pleasure of sensibilizing the structure of meaning. This rhythmized space structure ultimately serves for the chains of sensory image with materialized meaning. First of all, rhythmization of space is formed by means of the tempo of physical changes of space. In addition, through movements of theater-dance, these chains of image are transformed and extended in various ways. As the creation methods of theater-dance movement, there are methods of creating action chains according to concepts and methods of conceptualizing and indicating factual, that is, reproductive chains of action. All of them are rhythmized through the paradigm of extension of behavioral group/transformation development → leaping. → This thesis emphasizes on the creation course by which how the creation methods of the direction with the style of theater-dance change scenes into chains of sensibilized images. Accordingly, this doesn`t mean the total courses of creating the <The Possessed>. This means that the writer can`t deal with the total creation course in one thesis. And more basically, it is also because of the paradoxical dilemma being delivered by the difficulty of deriving such activist`s inner argument, that is, ``the implicit knowledge`` that has been obtained through long time practice of the body, to a research object, in other words, expressing it as a knowledge system of language. However, we can`t deny the fact that introducing these empirical knowledge system into the academic research space itself has very important meaning. In other words, it means that it has certainly introduced the methods of the creative activities as a member of present theatrical world. Therefore, at least, this study can be understood as a phenomenon of the creation course of a present theater director of Korea.

총체적인 몸의 공연학을 지향하는 에트노세노로지(Ethnoscénologie)와 한국에 있어서의 그 의미

나진환(Ra Jin-Hwan) 프랑스문화예술학회 2006 프랑스문화예술연구 Vol.17 No.-

문화의 `이질성`에 대한 연출적 처리 전략 - 피터 브룩의 ≪마하바라타≫를 중심으로

나진환 ( Ra Jin-hwan ) 한국연극교육학회 2016 연극교육연구 Vol.29 No.-

This paper is a study of specific creation Tactics of directing in terms of empirical knowledge based on performance studies of `Ethnoscenology` in the midst of unique features of creation revealed in Peter Brook`s ≪ Mahabharata≫, that is how he takes advantage of the cultural elements of India which are outside cultural elements in the European cultural elements. He identified the cultural materials that become the source of play in the framework of the concept of `culture of links` and utilized them as theatrical materials. In other words, through long time `practical research` with his actors in International Centre for Theatre Research, Peter Brook became to reach to the area called `culture of links` and based on their methodological foundations, he created ≪Mahabharata≫ by dramatizing the Indian epic ≪ Mahabharata≫. Peter Brook prepared the tactic of inducing the audiences who came to see the show to experience the journey of space and the uniqueness. In other words, going to watch the show is to participate in the journey of space. And through the audiences` experience of the body they experience in the journey of the space involved and through the uniqueness of the stage space, they change the consciousness of the body. And through such change, in accommodating exotic materials, they become to escape from the framework of the existing recognition and are invited to the prospect of new recognition. Such tactics of him can be confirmed in the journey of space going into quarries in Avignon and in the journey of New Yorkers going to Brooklyn. And they can be also confirmed in intense space of the quarries in Avignon and in the space of Bouffes du Nord Theatre having traces of time seared with the fire as well as cherished maturity, and also in the Majestic Theatre in Brooklyn with traces of maturity of years as in the theater. In the main text, we confirmed the effects of these tactic of Peter Brook in the study of the body in rite of passage, one category of the tactic of interculturalism being proposed by Michael Gissenwehrer and `Signal` study of physiological concept. After all, the tactics adopted for ≪ Mahabharata≫ of Peter Brook are balance of heterogeneous and intimate things as well as experience of special implication of space. In other words, his tactic can be seen as to stimulate and encourage the Europeans to overcome disparate elements of foreign culture and at the same time to stimulate extension of their recognition as well as objectify the frame of their recognition and width of thinking through those disparate cultural elements, by building Peter Brook`s shining image of the universal themes in the Western tradition in the midst of solid recognition structure of Shakespeare.

논문 : 연극무용(Theater-Dance)의 행동구조에 있어서 말(Parole)의 의미와 역할

나진환 ( Jin Hwan Ra ) 한국연극교육학회 2010 연극교육연구 Vol.16 No.-

연극 ≪대심문관과 파우스트≫의 창작과정에 나타난 연출의 미학적 특징과 그 방식

나진환 ( Ra Jin-hwan ) 한국연극교육학회 2021 연극교육연구 Vol.39 No.-

This thesis is a study on the aesthetic characteristics and method of directing shown in the creative process of the play ≪The Grand Inquisitor and Faust≫ based on empirical knowledge, which is one of the most important methodologies of performance science called Ethnoscenology. First of all, this work is a re-creation of Ivan's epic < The Grand Inquisitor > and < Faust > from Dostoevsky's ≪The Brothers of Karamazov≫, which dealt with the problem of human salvation. Ivan's < The Grand Inquisitor > is a work that advocates the idea that human beings will become gods and save mankind, which is against the idea of divine Man that God's Son Jesus saves mankind. It is a work that explores the phenomenon of today's human anxiety by allowing Faust to live in an era called Belle Epoque in order to explore Faust's concerns along with the characteristics of the era. What the researcher wanted to deal with in this work in particular was the state of the body as a total phenomenon and the way it was expressed. This shows the characteristics of directing aesthetics by revealing the meaning of performing used by this researcher and the characteristics of its expression method. The aesthetic expression method of the directing to realize the thesis of this work is summarized as the formativeness of the body state revealed by the method of elimination shown by Grotowski's poor theater’s aesthetics, and the ability of an actor to create a variety of concrete and strict spaces. The method of change in which one actor expresses several characters is also a major means of 'sensory distantiation effect' advocated by this researcher. This sensory distantiation effect is also shown through the means of images, that is, Live Streaming, along with materiality. In addition, this researcher's directing aesthetics also emphasizes the thematic meaning of this work as a way of expressing Narcissism, which is revealed through the actor's acting in the space of materiality.

텍스트를 시각화하는 방식들 - 핀터의 ≪재에서 재로≫와 모파상의 ≪오를라≫를 중심으로

나진환 ( Ra Jin-hwan ) 한국연극교육학회 2018 연극교육연구 Vol.33 No.-

This thesis is about the empirical knowledge, which is one of the important foundations of the study of performance called “Ethnoscenology”. It is a research on the special characteristics of the internal process in the unceasing practical research by myself, the researcher. In this thesis, it is intended to centrally deal with Pinter's ≪Ashes to Ashes≫ and Maupassant's ≪The Orla≫, which are on the extension lines of the series of the tasks in the front which reveal the special features of the directing aesthetics of myself, the writer. Or, in other words, regarding the methods of the visualizations of the texts with the two aspects that are different from each other, which I, the researcher, had directed, it is intended to take a look regarding the specific methods of the visualizations by being centered on the texts, Pinter's ≪Ashes to Ashes≫ and Maupassant's ≪The Orla≫. Pinter's ≪Ashes to Ashes≫ is a work in which the realistic elements and the absurdity elements that break them up are mixed. I, the writer, visualize such two structures through the contradictory forms. Or, in other words, it is the visualization of the space of the everyday life, which is a realistic stage, into the conceptualized, sensible images and the visualization of the unfolding of the fragmented, suggestive, and uncertain absurdity language into the specific behaviors. As a result, I, the researcher, set up the space of the specific everyday life of this work as a conceptualized, sensible space or, in other words, as a space in which the fragments of the hidden memories are revealed. These fragments of the hidden memories become the dramatic space which is revealed by the light. Such a light is especially defined by the lamps that are placed on the entire stage. Or, in other words, according to the diverse forms of the lamps and the quality of the light, the fragments of the memories of Rebecca get sensibly visualized. In contrast, the unfolding of the Pinter-type absurdity language or, in other words, the Pinteresque language gets visualized through the behaviors and the movements which can be specifically, clearly, and definitely read. Such actions return as the rhythmized actions or the play and dance actions that can read and that can feel specifically by aggressively interpreting the organizational elements of the works which Pinter enjoys using especially like the pause, the silence, and the three dots and, especially, the subtexts internalized within the pause. If the absurdity lines in the ≪Ashes to Ashes≫ by Pinter had focused on finding the specific behaviors, the lines in ≪The Orla≫ had concentrated on finding the conceptualized, sensible images. The reason is that this work directly explains the content of the work to the audience with the monologue format that is led by one narrator. As a result, ≪The Orla≫ focuses on how to sensibly visualize the conceptual meanings that are possessed in the lines. Or, in other words, it is that the explanatory speech and the stage that is not explanatory must actualize a balance. It is the meaning that the filling of the words and the emptiness of the space must have tied the mutual relationship. Regarding the proceeding of the play, the explanation through the words disappears, and the emptiness of the space possesses the process that gets filled. The specific places in the novel get transformed into the metaphorical images of which the concepts were made sensible. The beautiful house and the space of the abundant everyday life of the narrator had been returned as a space which shows the tragic phenomenon of the existence of the human beings through the meeting with the surrealistic existence called “The Orla”. Or, in other words, it is that the essence of the phenomenon of the existence of the human beings, which is revealed within the meeting with the surrealistic existence called “The Orla”, is, eventually, the matrix within the devastated wasteland which is floating in the air by being shut up inside a frame. The lyrics, also, are mainly expressed within the conceptualized and sensible images that reveal the anxiety, the fear, and the incapability of the possession which occur within the tragic situations of the existence of the human beings who are shut up within the frame. In these works, eventually, I, the writer had attempted the tasks of returning the everyday life to the abstraction and the abstraction to the concreteness. Or, in other words, the visualizations took place by returning the narratives to the conceptualized, sensible images and the abstract words to the concrete, rhythmized acts.

소설,《죄와 벌》을 공연화하는 창작과정에 나타난 연출의 미학적 특징: 이미지에서 드라마로

나진환 ( Jin Hwan Ra ) 한국연극교육학회 2012 연극교육연구 Vol.21 No.-

논문 : 음악극화한《털복숭이 원숭이》의 창작의 과정과 그 방식에 대한 연구

나진환 ( Jin Hwan Ra ) 한국연극교육학회 2014 연극교육연구 Vol.25 No.-

This paper is related to ‘Empirical Knowledge System’ that was obtained during the practical study of the creation process of《The Hairy Ape》as a ``music drama`` with characteristics of ``theatre-dance``. To speak more accurately, it can be said as drama emphasizing the element of music in the aesthetic format of theatre-dance. That is, it can be said as music with the structure in which dance is made under materially conceptualized space as ``musical dramaturgy``. Therefore, the structure of music makes visual flow of feeling that makes materialized space image as realization of theatrical theme move. Granting ‘sensory order’ to the image to be created by space realizing the theme is just the structure of music and it can be said as music drama of theatre-dance where such structure of music leads drama. Therefore, it is different from music drama as realization of music forming the top of the hierarchy as Appia. The first thing to reveal the text theme is ‘the structure of materialized concept``. And ultimate realization of the text is the flow of feeling image to be revealed by means of movement with actors using the structure. Then the specific means to make them move are just structure of music. Therefore, music is the ultimate means to realize the text. That is, conceptualized space is the structure analyzing the chunks of text cases and what makes this space dance is the structure of music. Systemizing and giving meaning to empirical knowledge acquired by a creator from his creative work is also showing the results of a very important symbolic action of internal human behavior, which can’t be known to theorists or audiences as outside viewers. This is a ``living phenomenon of creative work`` and is also important data showing an ecological phenomenon of actual theatrical creation. Therefore, introducing the context of such a series of creative work in this paper and giving meaning to it can be seen as important tracking path of research showing the empirical results of the ‘living’ internal creative ways as well as significant results revealing the continuity of the ``living`` research.

연극 ≪카라마조프가의 형제들≫에 나타난 연출의 미학적 특징

나진환 ( Jin Hwan Ra ) 한국연극교육학회 2017 연극교육연구 Vol.31 No.-

This paper is study from the perspective of Ethnosenology, which is an approach of performance studies, that is to say, this thesis is study on the practical study and its thoughts as a theater artist’s practitioner. More precisely, this is related to ‘Empirical Knowledge’ about Aesthetic Features of the Directing appeared in the creation process of ≪The Brothers, Karamazov≫. A work is not independently born as it is, but it is born in a continuous research context of previous works. Therefore, we can say that a work cannot exist only independently but is born in the process of continuous creation. This time’s ≪The Brothers, Karamazov≫ was also born in such context. In the results of this study, especially in the process of creation of directing, the researcher examined the meaning and reason of taking the process of play in the stage of novel dramatization through empirical knowledge acquired in the process of creation of the previous stage. In addition, first of all in the aspects of ‘essence of theatre’ and ‘reform’, the researcher looked at the significance of the seven hours’ performance time. The results of the new research call for the emergence of new terms that can deliver new content by escaping from existing terminology. In this respect, it is very important to use new terms to define one’s own aesthetics and to reveal the process and reason of the creation. Therefore, the researcher is going to use the term ‘symbolic metaphors’, which is a new term that can explain the achievements of this work. The term is intended that "metaphor" is not meant to be a concept of the object itself, but to mean a concept that has a sensory power that can directly stimulate the viewer's body. This sensationalized concept is embodied in materiality and formality, and the sensuous image created by it becomes the image of the symbolic metaphor. In this paper, through the concept of ‘symbolic metaphor’, which means to put this ‘symbolistic idea’ in the metaphor, the researcher explains about the way of setting up the stage and the act that are used in this work and the method of narrative, sensuous image and construction, that is parallel progressive method. And these advanced research results will be used more actively in the following works.

소설 ≪이방인≫의 연극적 시각화 방식

나진환 ( Ra Jin-hwan ) 한국연극교육학회 2020 연극교육연구 Vol.37 No.-

This paper is study on the way of visualization of text based on the empirical knowledge acquired from performance ≪Stranger≫. Because this methodology was acquired through the researcher's long time body practice as a practitioner of theatrical arts, it is very important to summarize the meaning of this once again. That is, this empirical knowledge is knowledge in the inner creative process that is never allowed to a researcher who is an observer. The knowledge acquired in this inner creation process has the meaning of inner analysis as stated in the performing arts called ethnoscénologie, and presents the result of a study on the phenomenon of Korean theater creation through an academically proven external analysis and a research methodology that forms two axes. In addition, from an artist's personal standpoint, it provides important information that allows him to know his own aesthetic characteristics that are revealed through internal inquiry and to expand them to a universal aspect. The stage of visualization begins with the thesis question that exists between analysis and interpretation. Visualization expands the questions revealed in the results from the method of analyzing the researcher’s work from this process, and uses this as a thesis to create its own interpretation of this. The main themes of this interpretation lead to conceptualization, and what is conceptualized is transformed into a meta-image, and it can be seen as a work in the process leading to its sensitization or symbolization. What is important here is the problem of how to construct this sensitized image? And the researcher explained this as the concept of 'structure/chain'. Just as the contradiction of light, that is, the property of light, which is both a wavelength and a particle, shows one aspect of light, this structure and chain are a performance image of a state of interlocking and connecting. In addition, if the explanation is made through the elements of the time delay (temporisation) and spacing (espacement) that appear in Derrida's term difference, the method of sensitizing this and making it attractive is the image structure/chain of this researcher. To achieve this, first of all, it is necessary to turn literary descriptions into literary actions and make them into a theatrical action, a performance image of state. The sensuous images that make up the structure and state of these images are visualized through the visualization of dialogue in the scenes created by the performance image of the state, that is, words that are reorganized and redefined in action. Words are more embodied through structuralist speech borrowed from Levistros' structuralist anthropology. Instead of focusing on the phenomenon of speech, it is to create the phenomenon of speech by focusing on the relationship between the elements that make the phenomenon of speech. In other words, speech becomes a constitutive relationship of the elements that make up the phenomenon of speech, and this is explained as the "principle of making results" in theatrical anthropology pursued by Eugene Barba. Through this method, it is grasped that the interpretation of the man who shot toward the sun with his back on death was created, and the intense 'immovable sun' soon became a symbol of death, and the repetition of daily life works like a rotating towel, and there are countless deaths in it. This contingency is explained by Sartre's concept of bloodiness. In other words, "existence takes precedence over essence." Based on this, the concept of the stage, the empty world and the coffin create meaningless repetitions of daily life, and on this foundation, humans experience many deaths and eventually face perfect death. Therefore, through the appearance of life that comes into Meerso's gaze, looking at the last death with his back, he realizes the countless deaths experienced on the basis of this coffin and the death given by the immovable sun at its core. Therefore, the structure/chain of sensational images of this work is created based on this concept and interpretation. This work is a visualization method of the deaths revealed in the repetition of meaningless life on the basis of the coffin that created the concept of deaths symbolized by the sun of pause and the sensory alienation effect.