http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
- 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
- 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
RISS 인기검색어
- 검색키워드
- 저자 : 김준삼(Kim, Jun-Sam) (검색결과 8 건)
- 무료
- 기관 내 무료
- 유료
-
김준삼 ( Jun Sam Kim ) 한국연극학회 2012 한국연극학 Vol.1 No.46
Acting is not about action, but about reaction. All the phony exaggerated acting results from self-centered actors` obsession with action without really listening to whatever stimuli are there around them. All the living things, including human beings, are bound to breathe and react as long as they live, which should be reflected into the training of actors and acting. We live our lives without practice. Life is always an improvisation, a succession of reactions made possible by senses and imagination on which each actor thrives. Reaction is preceded by sensory perceptions, which are all images. The imagination compare these images from the senses with those reserved in memory, a reservoir of images, so that the imagination can interpret the images and find any meaning from them. Out of these unceasing processes of imagination, there come out words and behaviors and actions. In that respect, everything that a character does, including thinking and feeling, is a reaction. Memory is like a library with a huge collection of condensed images. Some of these images are prohibited and blocked and deny the access of imagination. For actors, who are compelled to live different lives of characters through their own body and mind, free access to all the images in the library is a must to fully experience and express characters` experiences. Otherwise, his imagination would get crippled and his creation would be only superficial, unreal and untruthful. Without memory, an actor could not see and so he could not respond. No memory, no imagination. Character exists only in lines on the pages of a script. Memory is a soul that an actor must bring to any character he portrays, which makes acting a beautiful art. Any human experience begins with sensory perceptions. The same with characters` experiences. That is why acting should start with seeing, listening, smelling, tasting, and touching imaginary objects so that actors can react. As Declan Donnellan said, "you are what you see." When an actor really sees something in the imaginary circumstances on stage, his imagination come to work arduously, which in turn will enable him to become the character without any self-conscious anxieties, without any tension, and without any desire to express. Instead, only is there the freedom of flowing from reaction to reaction.
-
김준삼(Jun-Sam Kim),김학민(Hak-Min Kim) 한국콘텐츠학회 2012 한국콘텐츠학회논문지 Vol.12 No.9
배우가 어떤 과정을 통해 인물이 되는가에 관해서는 많은 혼란이 존재한다. 인물이 되어야 한다는 압박감은 배우들로 하여금 자신을 저버리고 무작정 다른 존재가 되도록 요구하고, 그에 따라 인위적이고 상투적인 연기의 함정에 빠지기 쉽다. 모든 예술은 정직하게 자기 자신에게서 시작된다. 벗어날 수 없는 일상속에 얽매인 나와 무한한 가능성을 지닌 자유로운 존재로서의 나를 구분해야만 어떻게 나에게서 시작해서 나를 버리고 나를 넘어설지를 모색할 수 있다. 살아있는 인물이 되고자 하는 배우는 연기하려고 하지 말고, 경험하려고 하여야 한다. 경험하기 위해서는 반응해야 한다. 반응하기 위해서는 오감의 경험에서 시작하여야 한다. 인물도 우리 모두와 마찬가지로, 오감의 경험에 반응하고, 반응에 반응하면서, 그리고 상상력이 빚어내는 이미지들에 반응하면서 세상에 존재하고 살아가는 것이다. 배우는 자신의 감각과 기억, 그리고 상상력만을 가친 채 극적 상황이라는 가상의 절박한 상황에 던져진다. 낯선 상황에 직면해 알지 못하는 것에 대한 두려움을 갖는 것은 자연스러운 일이나, 그 두려움에 억매여 있으면 아무것도 제대로 하지 못한다. 경험을 해가면서 인물을 내 몸과 마음이 저절로 이해하게 해야 한다. 알아서 하는 것이 아니라, 모르기 때문에 하는 것이고, 하면서 그리고 하기 때문에 알게 되는 것이다. 인물이 된다는 것은 미지의 여행에서 새로운 경험을 하면서 새로운 나를 끊임없이 발견하는 것이다. There is much confusion with the relationship between character and actor. Under the pressure of ‘becoming’ a character, the actor tends to begin his work apart from his own senses, imagination and memory, and is most likely to fall into the trap of artificiality and cliche. Like every other art, the actor has to begin honestly with himself who, in nature, has unfathomable possibilities. To be and live as a character, the actor has to experience. To experience, to react. To react, to see with all the senses. Like ours, each character’s life goes on from reaction to reaction, reacting to the images from the imagination and the memory. “You are what you see.” The actor is put into the extremely unfamiliar circumstances of drama, given only with his own senses, imagination and memory. Fear comes in. However, fear cannot stop the actor’s challenging journey to self-discoveries. The actor does and acts, not because he is certain but because he is not. The actor challenges himself to go beyond the limit and uncertainty, so that he will finally come to know and truly understand human beings from the challenges of his own. In a nutshell, acting is a journey to the unknown and the unfamiliar in which the actor unceasingly discover new ‘I’s.
-
이성원(Lee, Seong-Won),김준삼(Kim, Jun-Sam),전병갑(Jeon, Byong-Kap) 대한건축학회 2015 大韓建築學會論文集 : 構造系 Vol.31 No.12
The purpose of this study is to provide efficient structural solution with economics and constructability as well as approch corresponded at the new remodeling criteria. According to the new remodeling criteria, it is generally not allow the change of the member stiffness, in addition, the load sharing between the piles and member reinforcing method are strictly limited in order to improve the safety of the structure. In this report, 8 alternative structural systems have been devised for the vertical extention of 3 floors. Through the analysis and design of each structural system, establishment of analysis method, the amount of the structural members and minimize the number of reinforcing piles were reviewed. Finally, it is expected that remodeling design will be achieved with safety, cost savings and good constructability.
-
-
한상환,유연호,박영미,김준삼,임주혁,Han, Sang-Whan,Rew, Youn-Ho,Park, Young-Mi,Kim, Jun-Sam,Im, Ju-Hyeuk 대한건축학회 2011 대한건축학회논문집 Vol.27 No.2
The transfer slab system is widely used in high apartment building and is a structural system that transfers the loads from the upper shear wall structure to the lower columns. This system has convenience in construction but is noneconomic system due to a very thick slab. The fault is overcame by voids in the slab. Because the structural performance is, however, decreased by the voids, the strength prediction of the void slabs is very important. However, the current code doesn't provide a clear calculation provision for the strength of void slabs. In this study, experimental study was conducted to investigate the flexural strength and the one-way shear strength of the void transfer slab. The flexural and the shear strength of the specimens was predicted by current code and prior researches. In result, the flexural strength of void slabs is accurately predicted by the equation of the current code, and the shear strength is accurately predicted by shear equation of the code considering slab effective section of 45 degree from a support.
-
한상환(Han Sang-Whan),유연호(Rew Youn-Ho),박영미(Park Young-Mi),김준삼(Kim Jun-Sam),임주혁(Im Ju-Hyeuk) 대한건축학회 2011 大韓建築學會論文集 : 構造系 Vol.27 No.2
The transfer slab system is widely used in high apartment building and is a structural system that transfers the loads from the upper shear wall structure to the lower columns. This system has convenience in construction but is noneconomic system due to a very thick slab. The fault is overcame by voids in the slab. Because the structural performance is, however, decreased by the voids, the strength prediction of the void slabs is very important. However, the current code doesn't provide a clear calculation provision for the strength of void slabs. In this study, experimental study was conducted to investigate the flexural strength and the one-way shear strength of the void transfer slab. The flexural and the shear strength of the specimens was predicted by current code and prior researches. In result, the flexural strength of void slabs is accurately predicted by the equation of the current code, and the shear strength is accurately predicted by shear equation of the code considering slab effective section of 45 degree from a support.
-
-
KCI
KISS연관 검색어 추천
이 검색어로 많이 본 자료
활용도 높은 자료
