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김영래(Young Lae Kim) 한국기독교학회 2004 한국기독교신학논총 Vol.35 No.-
Electronic media today permeate our daily lives. Although the rise of electronic technologies of communication has occurred very recently indeed, contemporary life seems inconceivable without electronic media. Watching television, listening to radio, or playing video games are parts of the culture and daily routines of modem people. People who participate in those activities, whether willingly or not, gather information, learn behavioral patterns, and acquire ways of thinking. Of the various ways of communicating messages electronic media have, images are seemingly most influential. So called "electronic media images" provide references by which significant changes can be brought about in human thought, the organization of society, and the accumulation of culture. In effect, electronic media images "play a highly important role in orienting us to the events of the world, forming our attitudes toward physical existence, self-images, and values, and coordinating our desires." For young people, particularly, electronic media images may be ones of the most influential life references because today`s young people spend much time with electronic media and are fascinated by them. One survey indicates that they spend three to five hours a day before various kinds of electronic media. They are more likely to be familiar with the total pattern of the world of electronic media than with that of their own world. Their intimacy with electronic media images forms or deforms ways of knowing and ways of experiencing the world. Whether electronic media, in general and their images, in particular, help or disturb young people`s educational process and in what ways they do, must be new and urgent issues for current education. In general, electronic media as an educational environment have been considered a threat to traditional forms of education because young people have seemingly lost interest in reading and writing. For example, television presents a tremendous emotional impact, but it does not allow us to go over what was said a few minutes back, whereas books give us the tools with which to reflect, to think and to imagine. Especially young people seem to be losing one of the benefits of reading and writing, namely, imagination. Many young people no longer enjoy creating images and stories when they are absorbed in the ready -made programs of electronic media. They find little pleasure in conversation or playful expression while they are captured by the power of media. As a result, they seem to lose their capacity of creative imagination. Furthermore, their faculty of imagination often seems manipulated and distorted by the dominant power of electronic media culture, such as their powerful images. Such problems must be the critical issues in our time. The influence of electronic media images on young people`s imagination, especially in religious education, is the major concern of this study. This study examines electronic media images in terms of their characteristics comparing them with religious images. As vehicles of secular value and life - distorting agents, how electronic media manipulate and distort in the world of images will be discussed. This study is chiefly concerned with two questions: what do we need to learn about electronic media images to overcome their distorting power in young people`s imagination? How do we minimize the destructive shaping forces of electronic media images and stimulate their positive power in our teaching and learning activities. As a conclusion this study applies the results of the chapters to religious education. It considers the concrete tasks of Christian education toward electronic media. It synthesizes the ideas of the preceding chapters, extends their implications and presents a method, "critical imagination," as a guiding principle for Christian education in two areas: Critical Imagination for Examination and Critical Imagination for Contemporizing. Young people are attracted to secular va
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김영래 ( Kim Young-lae ) 한양대학교 공연예술연구소 2017 공연예술연구 Vol.5 No.-
메이어홀드는 20세기 초 러시아의 지배적인 사실주의 연극을 극복하고 연극적인 연극의 이상을 실현하고자 노력했다. 메이어홀드는 과도한 문학 중심적 연극이 예술로서의 연극의 독자성을 잃게 만들었다고 보았고 연극의 연극성이 회복되어야 함을 주장했다. 이를 위해 메이어홀드는 연극성이 풍부한 고대와 중세의 연극, 동양연극 등 양식적 연극들의 모든 고안 장치와 연기술을 연구하고, 그 연구를 재창조하여 자신의 공연작품에 반영했다. 또 동시대 예술가들이 주장한 혁신적인 연극이론들 특히 러시아 구성주의를 받아들여 독창적인 무대장치, 배우 연기시스템, 신체훈련법, 연극 연출방법론을 확립했다. 메이어홀드는 관객이 배우의 경험을 공유하도록 관객의 상상력을 자극하기 위한 잠재공간을 만들어 주는 것이 연극이라고 주장했다. 불규칙한 플랫폼과 경사로, 기하학적인 큐브, 움직이는 사다리와 같은 실용적인 무대장치를 고안해냈고 상자형 무대를 벗어나 무대 공간의 개념을 극장 외 연극으로 확장했다. 메이어홀드는 관객과 배우 사이 가상의 벽을 의미하는 스타니슬라브스키의 제4의 벽을 인정하지 않았다. 연극의 최종 도착점은 관객이며 공연의 완성은 관객에 의해 이루어진다고 보았기에 무대와 객석, 배우와 관객이 하나로 이어지는 극장 공간을 도입했다. 메이어홀드는 양식화 기법을 활용하여 대사의 형식을 다양한 신체 언어로 변화시켰고 배우 육체의 표현성과 동작의 연기를 중시했다. 특히 사실주의 연극이 결여하고 있는 호흡, 암시, 표현, 침묵 등의 새로운 연기 형식을 강조했고, 배우의 조형적인 움직임이 사실주의 연기의 한계를 극복할 수 있는 방법이라고 주장했다. 메이어홀드가 러시아 구성주의를 통해 추구하고자 했던 것은 사실주의와 문학에 매몰된 연극을 연극성을 가진 연극 그 자체로 돌려놓는 것이었고, 궁극적으로는 노동자의 연극, 관객 지향 연극이었다. 메이어홀드는 연극이 집단적 개인인 노동자의 것이 되어야 한다고 주장하며, 노동자들의 행위와 몸의 반응에 주목했다. 노동자의 움직임이 가장 본질적인 인간의 자기 존재 방식이라고 생각했고 노동자의 움직임을 생체역학으로 발전시켰다. 그는 생체역학을 실제 연극기법에 적용함으로써 자신의 연극 미학을 구현하고자 했다. 메이어홀드는 관객을 수동적인 존재가 아닌, 창조행위의 능동적 역할을 수행하는 참여하는 존재로 인식했다. 따라서 그는 이러한 능동적인 관객의 상상력을 자극할 수 있는 연극을 끊임없이 구상하게 되었고 러시아 구성주의에 입각한 다양한 연극 실험을 진행했다. 또 그는 사회와 문화를 반영하는 연극, 자신이 살아가는 사회와 유기적인 관계를 유지하는 연극을 찾기 위해 노력했다. 메이어홀드의 러시아 구성주의 연극은 기술과 예술의 결합이라는 시도로써 세계 연극 연출사에 매우 위대한 발자취를 남겼고 그의 연기연출방법론은 더욱 창조적으로 실험되고 계승될 것이다. In the early 20th century, Meyerhold tried to overcome Russia's dominant Realism theater and to achieve the ideal of theatrical theater. Meyerhold saw that excessively literary-centered theater had made the unique characteristic of theater as an art, and claimed that theatricality of the theaters should be restored. Meyerhold studied all the devices and techniques of theatrical plays that had abundant theatricality from the ancient and medieval theater to the Asian theater. He used the research and reflected on his theater. Further, he embraced the Russian constructivism and established the creative stage settings, actor acting system, physical training, and theater directing methods. Meyerhold argued that a theater should create a potential space that stimulates the audience's imagination by sharing the actor's experience. Meyerhold devised pragmatic stage devices like irregular platforms and ramps, geometric cubes, moving ladders and extended the concept of a stage space to an ‘theater out of the stage.’ Meyerhold did not acknowledge Stanislavsky's the fourth wall, which refers to a virtual wall between the audience and the actors. He believed that the final destination of the theater was the audience, and the completion of the performance was done by the audience. Thus, he introduced theater spaces that joined the actors and audience, stage and seats. Using the Stylization method, Meyerhold transformed the format of dialogues into various body language and emphasized the body expressivity and movement. He claimed that this was a way to overcome the limitations of a Realistic theater. Meyerhold gave cautious attention to the behavior and the body movements of blue-collar laborers. He believed that the movement of manual laborers was the most intrinsic attribute of human existence, and developed their movements into biomechanics. He intended to implement biomechanics in his plays to express his vision of theatrical aesthetics. Meyerhold wished to return the original theater with theatricality from the theater buried in Realism and literature through the Russian constructivism. He ultimately aimed to create a worker-centered and audience-centered theater. Meyerhold recognized the audience as a participant in the active role of creation. Thus, he continually envisioned a play that would stimulate the imagination of the active audience and conducted various theatrical experiments based on the Russian constructivism.
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영성교육의 관점에서 본 홀리스틱 교육운동의 의미 : 발도르프 교육의 지식이해를 중심으로
김영래(Kim Young-Lae) 한국홀리스틱융합교육학회 2003 홀리스틱융합교육연구 Vol.7 No.1
This article is to investigate a meaning of Holistic Education Movement in the perspective of spiritual education. In order to achieve the purpose of the study, this article will be focusing on the understanding of knowledge in Waldorf education, in particular, "the experience of knowledge" in its educational practice in contrast to the conception of knowledge in modern education. Here, relying on a historian of American Education at Columbia University, Douglas Sloan"s critique of the conception of modern knowledge, the questions of what the consequences of this view have been, and with what methods Waldorf overcomes the problem of the narrowing of knowledge and knowing, will be asked in order to consider where our spiritual education has been and should go. Sloan specifies the assumptions that implicitly or explicitly portray the educational problems of the century.<BR> Many of the difficulties in modern education derive from the problem of knowledge caused by its narrowing perception and conception. Waldorf education makes the gaining of knowledge a full-fledged human experience. By helping the child to "experience" knowledge that encompasses his body, soul, and spirit, Waldorf education contributes to appreciation of the dignity and the individuality of the growing child. The comprehensive understanding of the child"s development from kindergarten through high school makes Waldorf education advance the holistic experience of knowledge through one"s willing, feeling, and thinking.<BR> As Douglas Sloan writes, "The possibility of a living, harmonious, and meaningful world can only be grasped and realized by a thinking and knowing that are themselves living, whole, and engaged." The education reform we need most today specially in spiritual education is a radical renewal of our thinking that brings us back to the original contact of human being with the world. In this regard, the Waldorf experience of knowledge that is living, whole, and engaged should gain special attention in the current holistic educational reform movement.
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