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뷰포인트를 활용한 앙상블 연출의 재발견 -《아미시 프로젝트》를 중심으로
이문원 ( Moon Won Lee ) 한국연극교육학회 2011 연극교육연구 Vol.18 No.-
Emerging as an important training methodology for actors, directors, and even for designers since ``90s, Anne Bogart`s Viewpoints and Composition may shed new light on how to produce a new integrative model of ensemble directing for the 21st century. The Viewpoints is a training method adapted from postmodern dance, in which space and time is broken into smaller basic principles that performers could then study, practice, and control. Composition is more akin to a directing technique, an alternative method of performance-text writing with actors on their feet. Both methods root in the spirit of the alternative theatre in the sixties which attempted to revolt against aesthetic hierarchy and rigid authoritative dichotomy. While Bogart shares major concepts and training areas with traditional directing method, her approach from postmodern point of view highlights actor-centered creation and more plastic and open-ended ways of producing theatre work. Some contributions of Bogart`s techniques as a directing method are as follows. First, The Viewpoints and Composition invite actors back from the creative margin to the co-creation, thereby opening a channel for creative collaboration with the director. Secondly, regiebuchnow incorporates open search and experiments with actors into blocking design. Thirdly, the scope of the traditional directing exercises can greatly expand and get supplemented by new methodology. Finally, more actor-sensitive vocabularies on directing can be adopted from the Viewpoints and Composition, resulting in the mutual communication of actor and director further enhanced and elevated. The Amish Projectwas written and acted by Jessica Dickey in 2009. It is a monodrama based on the actual tragedy of shocking shootout at an Amish school in Nickel Mine, which killed five Amish girls and the killer. Originally, the actress alternated seven characters in the play, but the director decided to expand it to seven-actor ensemble using Viewpoints to make clear the theme of forgiveness and reconciliation. While the director`s intention was faithful render of the script, the staging was experimental and depending on Viewpoints in every step of preparation. The rehearsal process was divided into three phases: Viewpoints training, Source Work and Composition, and setting the material for each scene. During training session, developing team-spirit and physical awareness of others were emphasized. Intense exercises on floor pattern later helped to create movement pattern for each character. Source work and composition explored such central sources as TV, rectangle shape, gestures, sounds and music, chairs, doors, and flowers. Then, each moment in the play was set or created by compositions utilizing those sources found. Rather than passively accepting directions from director`s promptbook, actors functioned as co-creators creating each scene together, and co-writing a physical script through creative input from one another. Although Viewpoints tend to be embraced by those experimental directors who are interested in radical interpretation of given texts and making one`s own theatrical narratives, they present a healthy antidote to out-dated directing method solely based on naturalistic theatre. This case study of The Amish Project demonstrates the potential of Viewpoints directing, which is apt for non-linear and multi-focused works in postmodern era, which makes the most of creative input of actors based upon common vocabularies and enhanced sense of ownership in the creative process.
예수 드라마의 극적 사실주의에 관한 미학적 고찰 -<마태복음>과 <패션 오브 크라이스트>를 중심으로-
이문원 ( Moon Won Lee ) 기독교학문연구회 2012 신앙과 학문 Vol.17 No.2
This study aims to provide a basis for an aesthetic analysis of Jesus drama by comparative examination of Matteo and The Passion. So far, a value of Jesus drama has traditionally been determined by whether it has faithfully represents the Gospels, and therefore, by theological and ethical standards. Jesus drama, however, is not a passive or transparent translation of the original text, but a total realization of director`s creative mediation and artistic vision through its own medium. Therefore, an accurate understanding of such characteristics of drama will certainly help to overcome the gap between theology and drama, and even contribute to more fruitful reflection and interpretation of the original text through dramatic renderings. A drama comes into existence through concretization of director`s metatext, a social context he/she belongs to, a style of expression he/she chooses, composition of dramatic narrative, and the final realization of mise en scene. As the main body of the study demonstrates, both dramas attempt to ``imitate`` or re-enact Jesus through dramatic realism, but with different purposes and results. Pasolini creates a modern revolutionist Jesus through Neo-Realism, while Gibson, a suffering servant Jesus through Hyper-Realism. These variations of creative expressions and different interpretations even within the same frame of realism not only show a variety and vitality of dramatic medium but also testify that those dichotomic approaches hardly appreciate creative discourses produced by the body of Jesus drama. This study views each Jesus drama not as it should be from the theological point of view, but as it is, as it aims to achieve its goals on its own terms. The autonomous artistic value of each Jesus drama can be made even clearer when one understands its contributions as Derridaean concept of ``supplement.`` The presence of one supplement proves incompleteness of the previous one and at the same time preconditions another supplement to follow to complement its own imperfect nature. Likewise, supplements of Jesus drama with their own unique interpretations incessantly emerge to add up to fullness of the Gospels by dramatic mediations, which will continue to converse with ever-changing ages and communities of mankind.