연기개념의 ‘포스트’적 변환에 관한 고찰 - 스타니슬랍스키의 ‘행동’, ‘교감’, ‘역할’을 중심으로

안재범 한국극예술학회 2014 한국극예술연구 Vol.0 No.46

This writing aims at structural contemplation on acting concepts conversed in post-ages. In that an entity is a combination of an object and images, nature of acting expresses itself as mutually connected combination of both an abject and images. Hence, verification of the relation between the two will be an important task in the study of acting. And yet, so-far discussions on acting have been lopsided toward the aspect of its objects such as methodologies. To make up for the situation, this study unfolds discussions on features with which the concepts of ‘role,’ ‘communion,’ and ‘action,’ confirmed by Stanislavsky, founder of comtemporary acting, in his trilogue structure, are conversed to ‘post-’, pursuant to the flow of the times. Conclusively, the ultimate goal of this writing lies with actual change or advance in the field of acting via contemporary consideration of acting concepts. Each concept set up by Stanislavsky based upon trilogue structure was ‘action for a goal,’ on the actor/actress side, ‘identification via communion,’ on the counterpart side, and ‘realization of subconsciousness,’ on the audience side. These concepts were set up on the basis of causal ‘truth’ that originated from the then science and philosophy. In the post times, however, causal ‘truth’ has changed to uncertain ‘truth,’ conversing meanings of the aforementioned concepts into ‘carrying out of the process,’ ‘dialogue with others,’ and ‘realization of wu-wei,’ respectively. Eventually, I could infer that the ‘post-’ acting theory to be set up via conversion of such concepts would be an educational method developed by focusing on the process of carrying out communication, and removing all the unnecessary surplus. Aesthetics of acting to be realized by such ‘post’ concepts is similar to ‘descent downward,’ that is, ‘the modern sublime’ as Lyotard mentioned. Acting based on the ‘post’ concept today has become something strange, not natural, say, something looking infinitely harsh and meaningless because artificiality itself has been gone as its border with the real world has gradually fallen down in performances like post-avant-garde, in movies like fake documentaries, as a result of which the audience accept the acting as ‘a case’ that takes place, with strange feeling of reality, having given up their stance of appreciating the acting. 이 글은 포스트시대에 변환한 스타니슬랍스키의 연기개념들을 정담의 구조에서 고찰한 것이다. 하나의 실체가 대상과 개념의 결합이라는 점에서 연기의 본성 역시 대상과 개념, 양자의 상호연관적인 결합으로 발현한다. 따라서 이 양자의 관계에 대한 규명이야말로 연기론 연구에서 중요한 책무일 것이다. 그럼에도 그동안 연기에 관한 논의는 방법론 등 대상의 측면에 치중된 채 수행되어 왔다. 이를 보완하고자 본 연구는 현대연기론의 초석을 다진 스타니슬랍스키가 정담의 구조에서 확정한 ‘역할’, ‘교감’, ‘행동’의 개념들이 시대적 흐름에 따라 ‘포스트’적으로 전환한 특성에 대하여 그 논의를 전개하였다. 결과적으로 본고의 최종적인 목적은 연기개념에 관한 동시대적 고찰을 통한 연기론의 실제적인 변화 혹은 진보에 있기 때문이다. 스타니슬랍스키가 정담의 구조에 입각하여 수립한 각각의 개념은 배우의 입장에서 ‘목적을 위한 행동’, 상대의 입장에서 ‘교감을 통한 합일’, 관객의 입장에서 ‘잠재의식적인 구현’이었고, 이 개념들은 당대의 과학과 철학에 근거하는 인과론적 ‘진실’에 정초하여 수립된 것들이었다. 그러나 포스트시대에 이르러 인과론적 ‘진실’이 불확정성의 ‘진실’로 변천함에 따라 앞서의 개념들 역시 ‘과정의 수행’, ‘타자와의 대화’, ‘무위의 구현’으로 그 의미가 각기 변환하였다. 결과적으로 이러한 개념적 전환을 통해 수립될 ‘포스트’적 연기론은 연기교육에서 불필요한 잉여를 제거하고, 의사소통의 수행과정에 초점을 맞춘 방식으로 유추할 수 있었다. 또한, 이와 같은 ‘포스트’적 개념에 의해 구현되는 연기의 미학은 ‘아래로의 하강’, 즉 료타르가 말한 현대적인 ‘숭고’와 같은 것이다. 오늘날 ‘포스트’적 개념에 근거한 배우의 연기란 현실의 행동과의 경계가 점차 무너지며 인위성 자체가 사라져 버린 부드럽지 않고 생경한 것, 다시 말해 마냥 거칠고 무의미해 보이는 것이 되었다. 그 결과, 관객은 더 이상 배우의 연기를 감상하는 입장을 포기한 채 배우의 연기를 저질러지는 하나의 ‘사건’으로 받아들이며, 생경한 실재감을 함께 경험하는 입장에 선 것이다.

셰익스피어 시대 연기에 관한 논쟁적 쟁점: 에드워드 앨린(Edward Alleyn)과 리처드 버비지(Richard Burbage)를 중심으로

전지영,신영섭 한국예술교육학회 2023 예술교육연구 Vol.21 No.4

Actors from the Grecian era were profoundly influenced by the form of tragedies. Their perform- ances were stylized, adhering to linear plots, archetypical characters, and poetic forms of speech. However, by the time of Shakespeare, there was a shift in the paradigm of playwriting, leading to an evolution in the perception of acting. This became the starting point for formal academic debates on the art of acting. The discourse on acting during the Shakespearean era manifested primarily in three categories, centered around the debate between Formalism and Naturalism: First, the duality in an actor's consciousness concerning whether the actor or the character is the subject or object; second, the approach to acting – whether emotion should be prioritized over reason or vice versa; and third, the debate over whether the acting style should be realistic or non-realistic. While this debate seemed to be reaching a conclusion through the works of Diderot and Stanislavski in the 18th and 19th centuries, it was reignited by Brecht. Thus, this researcher emphasizes that academic debates on acting began in earnest during Shakespeare's time and have continued within the realm of repre- sentational acting until today. The significance of acting during Shakespeare's era in the trajectory of acting history is paramount. This paper aims to re-examine the significance of acting during Shakespeare's time, focusing on the performances of prominent actors like Edward Alleyn and Richard Burbage, and to delve into the aforementioned three main points of contention.

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’.

재현적 연기와 서사적 연기술의 비교연구

박명희 청주대학교 학술연구소 2008 淸大學術論集 Vol.12 No.-

Major acting pattern of western traditional values of emotional realism, is extremel-y requires that it must be realistic and natural. Acting that is not only matter of recovery of control, technic, imitated experience, but also making and delivering new internal life and sense of being. Stanislavsky System, that scientific development of acting pattern, is influenced lots of actor's theory of acting Bertolt Brecht who disagreed with major acting trends, he criticizes that ideal of Aristotelian drama, also he believes major trends of acting which only concern phenomenon of its appearance, are limited acting's value. Acting technique which produces alienation effect is the exact opposite of that which aims at empathy. The actor applying the alienation effect is bound not to try to bring the empathy operation. Bertolt Brecht creates Epic Theater which include criticism of community and reorganization. Mean while, he points alienation effect which against with Aristotle's traditional way. The alienation effect in his plays resulted from his ability to keep the audience emotionally detach from he character's situations. His best audiences are alert and critical. The actor of Epic Theater uses multiple technic which break away him from character. Audience forgets himself during the character and they have questions and criti-cism instead of united with illusion of theater. It is related Epic Theater's goal. There are three principles of alienation effect which make audience have questions and criticism. First, it must block audience's illusion. Second, it must excluded empathy of audience. Third, it must prohibit actor's absorption and transformation. For alienation effect, actor must give up the technic that audience can absorpt to actor's character. Although, actor plays character in the roll, it can't be seems like absorpt into character. So alienation effect is exist as negative position of representative acting style. Representational acting doesn't agree with audience's existence, but alienation effect did agree with it. Absolutism of stage can disappears and actor guides as demonstrator or witness f-or helping audience can make a decision about scene of stage through acting style of Epic Theater.

‘내면 연기’ 연구

김대현 한국연극교육학회 2020 연극교육연구 Vol.36 No.-

Naemyun Acting(Inner acting) is the acting term used only in Korea. Fact means acting in a realistic act or speech act based on a psychological acting methodology. This inner acting debate was first begun by An Chi-woon. Afterwards, Kim Bang-ok's thesis and the debate between the two revealed various characteristics of inner acting, but unfortunately the debate did not continue. This study starts from the modernity of inner research which An Chi-woon said. We have examined how the term inner acting is connected with the modernization of Korea, how through which forms and methodologies peculiar to inner acting were initiated and maintained, and finally, through political implications. In the end, inner acting is a kind of transformation formed by neo-classicists, realist theatricians, who form the mainstream of Korean theater. Despite no mention of inner acting anywhere in the world, it is definitely a unique phenomenon of Korean theater. The political implications of the term internal acting and modernity, form and formation of inner acting, and inner acting are discussed by the neo-extremists who are the product of Korean modernization and still forming the mainstream of Korean theater. Their utility and value are exaggeratedly packed to the top of an exclusive hierarchy. Therefore, the discourse about inner acting should be expanded and deepened. This study is a fragment of that expectation and hope.

재현적 연기와 시뮬라크르적 연기

김대현 ( Dai Hyun Kim ) 한국연극교육학회 2014 연극교육연구 Vol.24 No.-

This thesis is focused on two aspects of acting, the representational and the simulative. Since tragedy is defined as ``imitation of an action`` by Aristotle, acting has been regarded as a sort of mimetic technique. As a matter of fact, we can easily find such a mentions in the acting history and some actor`s biographies. Therefore it is naturally accepted that many theories on acting are on the basis of this aesthetics of mimesis or representation in art. But some questions on the acting are nowadays raised. That is the utility of this mimetic theory. The forms and contents of acting have been constantly changed in the history. therefore, we can easily assume that our contemporary theatre and theories of acting have to be changed according to changes. But we can`t find such a changes in the fields of theatre practices and theories in korean theatre. Especially, in the education and training for actor. It is still observed the strong influence from the realistic style of acting or “Stanislavsky System”. In the mimetic acting (representational acting) is it very accented ``emotion`` and ``emotional interaction`` between actors and spectators to feel ‘true’. What the most important thing in this style is how truly it resembles the object of the imitation on the stage. That means logically there are some ‘good’ or ‘bad’ acting and ‘true’ acting or ‘false’. It is questionable whether it still valid for our contemporary theatre. the main reason why the ‘simulative acting’ instead of ‘mimetic acting’ is proposed in this thesis is related with changes in our contemporary theatre, for example, such a theatres ‘postdrama’ and ‘energy theatre’ etc. In the simulative acting is it not important how truly actors imitate the figures in texts because they are some kinds of fictional beings. On the other hand, what the important thing in ‘simulative acting’ is not the degree of imitation but the differentiation of resemblance. It can be caused many revolutionary changes in the fields of education for acting and on the stages. The purpose and goal in acting can be moved from the figures in texts from actors themselves. And it can make the actor concentrate on himself and be more vital on the stage.

연기교육의 언어적 문제와 대안성에 관한 연구

안재범 ( Jae Beom Ahn ) 한국연극교육학회 2015 연극교육연구 Vol.26 No.-

This thesis discussed problems caused by language, which is a major medium in the acting education and educational alternativity that will supplement the problems. Acting lessons in the contemporary age are done by having acting taught by means of abstract terminologies or sentences such as ``focus,`` and ``immersion`` from the perspective that it is an intangible art to learn acting. This method relying on language, however, inevitably causes misunderstanding and distortion in the process of communication between learners and teachers due to different prior knowledge and contexts, hampering learning performance. Accordingly, unlike the existing methods focusing on educational objects such as ``truth,`` ``response,`` ``human body,`` and the like, this thesis explored the alternativity of new methods that focus on the issues of a language that is a means of education. For this purpose, it analyzed various problems such as ``conventional notion of mysticism,`` ``self-contradiction of education,`` and ``teacher`s tolerance,`` caused by attributes contained in a language like ``myth,`` ``desire,`` ``paradox,`` and so on, and then considered as an educational alternative, features of ``simplification’, ‘objectification’, and ‘personalization.’The results were led to devise an acting theory that expresses status quo as it stands, not adding or deleting any, that is an alternative acting theory that excludes from the scratch, man-made interventions such as subjectivity, regulations or etc. If so, the simplified, objectified, personalized acting theory to remove linguistic problems from the contemporary acting education will be able to remove unnecessary surplus from acting education, and develop into an educational method focusing on communication units, that is, on performing the processes, which are units of information exchange. What remains intact at a state where an actor/actress has put all the ancillary things down is performance process of processing & exchanging information, and this is because artificiality-free acting is possible when an actor/actress focuses only on communication process in his/her actual acting.

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.

즉흥연기의 이론과 방법론 연구

박서연(Park, Seo-Yeon),송낙원(Song, Nak-Won) 한국영상제작기술학회 2015 영상기술연구 Vol.- No.23

Improvisational acting is the acting without a script or direction. Improvisation is the essence for the film acting. Every great cinematic acting includes improvisational moment. The sense of improvisational acting is the capability for not only actors but also directors in the film set. A great moment of improvisational acting cannot be reproduced at the next day performance in the theater stage. However, there is a camera in the film set. Improvisation of the film acting is more important than the theater acting. Because the camera and the projector can easily represent all moments of acting. In Russia, Stanislavskii named improvisational acting as the ‘Etude’, argued that actors can develop and expand their acting ability, creativity and imagination through the improvisation. This improvisational acting expands actors’ imagination, which stimulate the creative fantasy and recalls actors’ emotion and emotional memories in the unconscious. In the USA, Viola Spolin argued the Theater Game theory that improvisational acting of theater play could elicit the urban poor children’s potential of expression and heal their soul. She also realized that the children who learning improvisational acting feel the joy and creativity which hard to experience in the daily life. Spolin’s Theater Game Theory brings the great progress in the improvisational acting education. Her ‘Theater Game Theory’ points out that Stanislavskii’s ‘Etude Theory’ is sometimes excessively serious and critical, may cause to confine actors. So actors can loose their pleasure of acting. Spolin found out the new method of improvisational acting through children’s Game theory, and it was the turning point in improvisational acting education.

‘제시적 연기’를 활용한 뮤지컬 연기법 – 브레히트의 서사극 이론을 중심으로 -

이지은 한국엔터테인먼트산업학회 2018 한국엔터테인먼트산업학회논문지 Vol.12 No.8

Musical is a composite art excellently intersecting elements of representational drama and presentational form of songs. Despite these stylistic features, currently, there is no way to provide an accurate methodology for 'musical acting' by musical education in Korea. Although, there are various ways of acting have been introduced in Korea, system acting method by Stanislavski is the most currently prevalent as well as there is no practical active training skills based on the other methods. In particular, Stanislavski's realistic acting method cannot properly portray 'song acting' in musical theatre. In this study, Brecht's epic theater theory on ‘Presentational Acting' will be applied to musicals to illustrate the methodology of teaching musical acting. Bertolt Brecht actively used music in the plays to express his philosophy through it. He hoped that the audience would be able to understand the play more objectively through "Verfremdungseffekt," using songs and descriptive characters. He proposed the presentational acting skills to the actor. Even though use of music and reason of presentational acting skill by Brecht is different with the way of musical basically, it is able to verify for a potential how musical can be represented efficiently to audience when epic theater by Brecht is applied for musical acting as well. Throughout presentational acting skill, it is expected that it will help current musical actors and students who majored in musical acting when they study and analyze it for musical acting.