스타니슬랍스키 시스템 연기용어에 대한 고찰(1) : 한국어판『배우수업』을 중심으로 韓國語版 『俳優修業』 を中心として

홍재범 한국연극학회 2001 한국연극학 Vol.0 No.17

本稿はスタニステフスキイのテキストを受容した時'最も大衆的な影響を及ぼしたと考られる韓國語版『排優修業』の演技用語と'その槪念について檢討しようとするものである。『排優修嶪』は單純に演技方法に關連した多くの飜譯書の中の一つではなぃ˚現在'絶版になった 吳史良譯『排優修嶪』は'30餘年の間演技方法論の古典として演技者たちに陰に陽に大な影響力を行使した。『排優修業』とぃう一冊のテキストが'現在の韓國演技者たちの演技方法を絶對的に規定するものではなぃだろうしかし'依然として寫實主義的な演技スタイルは韓國演劇界の支配的な流れである ˚したがって『排優修業』讀んでいなぃ演技者でもその磁場から自由になることはできない˚ 韓國に最初に紹介された體系的な演技方法論は'スタニスラフスキイシステムであるとぃえよう˚スタニスラフスキイ-システムの大衆的な擴散は'1970年 吳史良業(オサラャン)が飜譯した韓國語版「排優修業」によってなされた˚この書物は韓國の演技者たちに兩價的に作用したと推論される˚『排優修業』の本來の題目は『體驗の創造過程における自身に對する排優の作業』である˚おそく『性格構築』(Building A Character、1949年)と命名されるものは『具顯の創造過程における自身に對する排優の作業』で'『役割創造』(Creating A Role、 1961年)は『役割に對する排優の作業』である˚現在'通用している題目は英語版の題目を飜譯したもので'本來の意味が指向するところは效果的に反映されていない˚大部分の讀者は『排優修』や『性格構築』が主に'自身に對する作業'ではなくて'役割に對する作業'を扱っていると考えている˚戱曲テキストの中の登場人物を自己化する過程としての'役割に對する作業'は'最近飜譯された『役割に對する排優の作業』で本格的に展開されているとぃう事實を認識しなかったためである˚ 問題の深刻性は''萬若'(magic if)や'情緖的記憶'ではなくて'演技をする時最も根底に署かれる礎石のような槪念であるにもかかわらず'全體的な脈絡を考ぇなぃ不適切な單語の選擇のため'その槪念とはすなわち韓國の演劇製作の現場でまったく活用されなかったことだ˚それは'與ぇられた狀況(given circumstance)'と'自感(ジャガム)'である˚このような事態が發生したのは根本的にロシア語版が英語版(1936年)より後に出版されたからのである'そのため英語版をテキストとして飜譯されたいくつもの版本は'似たような限界點を共有しなければならなかった˚韓國のスタニスラフスキイ-システムは日本と美國を經由して受容したため'本來的な意味の歪曲縮小'異質的な要素の重疊'擴張が行われた˚ 結局'韓國語版『排優修業』は先行テキストである英語版と日語版の限界を越えられなかった˚スタニスラフスキイ-システムの全體的な脈絡の中で「體驗の創造過程における自身の對する排優の作業」がどのような座標にあるのかを通察せず'遂字的に飜譯したため'スタニスラフスキイ-システムについて理解と誤解という兩價的現象が同時に行われたのである˚このような兩價的現象を招いたのは'根本的にその間口シアとの直接的な交流が行われなかったためである˚これは演劇方法論が'單純に理論的な接近を通して現場で活用される時'明らかな誤謬が生じる場合があるということを敎えてくれる˚

스타니슬랍스키 시스템의 ‘주어진 상황’에 대한 교수-학습 모형(1)- 시텍스트를 매개로 하여스타니슬랍스키 시스템의 ‘주어진 상황’에 대한 교수-학습 모형(1)?홍재범 한국연극학 제19호 -

홍재범 한국연극학회 2002 한국연극학 Vol.0 No.19

희곡의 시나리오 전환 과정 고찰

홍재범 한국어문학회 2006 語文學 Vol.0 No.91

]Focusing on the conversion of a drama into a scenario at the level of written text before presented at the stage or on the screen, this paper examined the adaptation of <Come to See Me>(a play) into <Memories of Murder>(a scenario).Basic aspects of conversion from the one into the other are a phase adjustment of compositive elements on the "given circumstance," as well as a narrative impletion of both "given circumstance" and the "dramatic space" on the basis of experiences of a receiver, here a adapter as a second creator. Two texts' basic deferences are caused from the that of media between the drama and the scenario. In the drama <Come to See Me>, most of incidents beside one were explained by an inspector, Bak Dalho with slides at the end of the drama, but in the scenario <Memories of Murder>, the incidents were visually presented one by one following the time table, which making a climax structure. The most reformed part of the conversion is characters of two main casts, Taeyun and Duman, from the flat into the round, which demonstrates that the scenario's adaptation is mainly considered to be more 'dramatic'than the original. In fact, step by step did <Memories of Murder> stereoscopically configure the change of two main cast's characters. All the changes of <Memories of Murder> are resulted from the selection and exclusion based on the scenario adapter's thematic consciousness. Here, both the "given circumstance" and the "making stage space" of the dramatic sceneries are organically combined with the theme of the scenario.

고성장 중소기업의 동태적 특성 및 결정요인에 대한 실증연구: 산업특성을 중심으로

홍재범,김성태 한국자료분석학회 2016 Journal of the Korean Data Analysis Society Vol.18 No.2

본 연구는 외감이상 중소기업을 성장유형에 따라 ‘(1)매출·고용고성장’, ‘(2)매출고성장’, ‘(3)고용고성장’, ‘(4)매출·고용저성장’으로 구분한 후, 각 성장유형별 특성 및 결정요인을 분석하였다. 특성 분석결과, ‘(2)매출고성장’에 속한 중소기업의 수익성, 안정성, 현금흐름, 효율성이 매우 낮은 것으로 나타났다. 그리고 이러한 특성은 ‘(4)매출·고용저성장’보다도 더 낮은 것으로 나타났는데, 수익성, 안정성, 현금흐름, 효율성의 12개 재무지표 중 75%인 9개 지표값이 ‘(4)매출·고용저성장’보다 더 통계적으로 유의하게 낮게 나타났다. 성장결정요인에 대한 패널분석결과, 연구개발지출, 성장성, 안정성은 중소기업의 매출성장과 고용성장에 모두 양(+)의 영향을 미치는 반면, 수익성, 현금흐름, 효율성은 고용성장에만 양(+)의 영향을 미치고 매출성장에는 음(-)의 영향을 미치는 것으로 분석되었다. 그리고 하이테크산업에 속할 경우 매출과 고용의 성장성이 더욱 높을 것으로 예상되었다. In this paper, we divide SMEs into ‘(1) sales·employment high-growth’, ‘(2) sales high-growth’, ‘(3) employment high-growth’, ‘(4) sales·employment low-growth’ according to the types of growth and investigate the characteristics and determinants of high-growth SMEs. Characteristic analysis result shows that profitability, stability, and cash flow of SMEs belonging to ‘(2) sales high-growth’ are very low and, what is worse, lower than those of SMEs belonging to ‘(4) sales·employment low-growth’. To be specific about it, 9 financial ratios of ‘(2) sales high-growth’, 75% of the total financial ratios, are statistically and significantly lower than those of ‘(4) sales·employment low-growth’. According to the results of panel data analysis for determinants of high-growth SMEs, R&D expenditure, growth, and stability have the positive influences on both sales growth and employment growth, meanwhile profitability, cash-flow, and efficiency affect positively on only employment growth, and negatively on only sales growth. Finally, we find out that sales growth and employment growth of SMEs included in high-tech industries are higher than those of SMEs in non high-tech industries.

극 텍스트 읽기 방법론(1)-연기자의 작업을 중심으로-

홍재범 한국극예술학회 2003 한국극예술연구 Vol.0 No.17

A Study on the Method of Reading the Drama Text(1)

홍해성의 무대예술론 고찰

홍재범 한국어문학회 2005 語文學 Vol.0 No.87

The dramatic theory of Hae-Sung Hong, which collectively shows the conformity with Stanislavski system, shall be appropriately evaluated when it is regarded as his self-reliant realistic dramatic theory forming through his reflective thought of experience rather than the circuitous influence of Stanislavski system intermediating Osanai Kaoru. Hae-Sung Hong sets up a theory basing on his experience without any knowledge of substantial figure of Stanislavski system. Nevertheless, his achievement in practical awareness corresponds to the indispensable elements of Stanislavski system: improvisation, exchanging, ensemble, object, pause, sub-text, combination of behavior and speech, etc. He could not wholly detect the organic relatedness of those elements. But it is thoroughly more difficult to comprehend it than to know basic concepts of the system. Even with this limitation, the amazing result comes into view. It is natural, due to his aim at realism theatre, that his dramatic theory has common characteristics with the system. Reducing his th! eory as a by-product is out of the question. Yet an influence of the system cannot be overlooked. Just too extreme focusing on this ought to be avoided. To discriminate between his own achievement and the influence needs a elaborate work. Stanislavski system provided him of the source for defined awareness of realistic stage-originated art rather than submitted him under its influence as practical acting method. Hence his theory has the conformity with Stanislavski system.

연극과 영상의 혼종적 텍스트, 연쇄극의 형식

홍재범 겨레어문학회 2010 겨레어문학 Vol.44 No.-

This study aims to bring a form of kinodrama in Korea modern play art history to light by considering the existence methods of the formats and image of the fates of kinodrama as hybrid text of play and image which couldn't help finishing for very short time experiment. The kinodrama started for the external purpose as a spectator mobilization but was destined to be ended historically in the moment when the spectators were surfeited. The inner cause of sudden disappearance is that couldn't accomplish the formal organic combination of the stage and contents of image. Namely, the inserted images were just simple expansion of the stage space which is difficult to be embodied, and the contents of narration had not discriminational characteristic with the popular play which was separated from the present life in 1910s. However, the individual image which is inserted in kinodrama has no substantive difference with 'spectacles', 'tableau' as the formats of Western initial film. Just it couldn't be developed as film caused by being producing for short time as three years, and it played a role to expand the external part of the play as preliminary form before the Korea film was produced. 본고는 연극과 영상의 혼종적 텍스트로서 매우 단기간의 실험으로 끝날 수밖에 없었던 연쇄극의 운명을 그 구조와 영상의 존재방식을 고찰하여 한국근대극예술사에서 독특한 위상을 점하고 있는 연쇄극의 형식을 구명하고자 하였다. 연쇄극은 관객동원이라는 외재적인 목적을 위해 시작되어 관객들이 식상해 하는 순간 역사적 운명을 다하였다. 갑작스런 소멸의 내적 원인은 무대와 영상의 내용과 형식상의 유기적인 결합을 이루어내지 못했기 때문이다. 즉, 삽입된 영상들은 무대 위에서 구현하기 어려운 무대공간의 단순한 확장에 그쳤으며, 서사의 내용 또한 현실의 삶과 유리된 1910년대 대중극과 차별성이 없었다. 그럼에도 불구하고 연쇄극에 삽입된 개별적인 영상들은 서구의 초기 영화 형식인 ‘광경’, ‘타블로’와 본질적인 차이는 없었다. 다만 3년여의 짧은 시간동안 제작되어 영화로 발전하지 못하고 조선영화가 제작되기 전 예비적 형태로 남은 채 연극의 외연을 확장하는 역할을 담당하였다.

기술경영분야의 연구영역과 연구흐름

홍재범 한국벤처창업학회 2012 한국벤처창업학회 학술대회 Vol.2012 No.4

〈올드 보이〉의 각색 과정 고찰

홍재범 한국현대문학회 2007 한국현대문학회 학술발표회자료집 Vol.- No.-

프랑크 왕국의 추방 규정과 실제 사례에 나타난 특징

홍재범 한국세계문화사학회 2023 세계 역사와 문화 연구 Vol.- No.66

The exile has been with mankind for a long time since Adam and Eve’s anecdote. The Expulsion which went through Ancient Greece and Rome appeared in various terms in accordance with the political and social situations of the time. It contains the contents of deprivation of citizenship, confiscation of property and confinement to a certain area. In the early Middle Ages, the Germanic peoples accepted the Roman heritage, absorbing the customs of exile that drove out those who broke the peace of the community, and defined it as the law of the kingdom. In the Merovingian dynasty, kings chose exile rather than capital punishment and sent bishops to isolated spaces such as islands and monasteries. Meanwhile, the parties who fought fiercely in the internal conflict within the Carolingian royal family tried to solve the problem through a political choice of exile. Although it was a temporary solution, the Frankish kingdom’s expulsion method of keeping alive, sending it away, imprisoning it and returning it was remarkable compared to other periods. Exile was a punishment that punishes those who commit crimes, but its contents have changed over time. It was also, on the other hand, a politically chosen strategic weapon to strengthen or maintain the power of the ruler. 배척과 제거의 의미를 갖는 추방은 인류의 오랜 역사다. 고대 그리스와 로마에서 추방은 당시 시대적 상황에 부합하면서 다양한 용어로 나타났다. 그것은 시민권 박탈, 재산 몰수, 특정 지역으로 유폐라는 내용을 담고 있다. 게르만인들은 로마의 유산과 공동체의 평화를 무너뜨리는 자를 내쫓았던 추방의 관습을 계승해 법으로 정의했다. 메로베우스 왕조에서 국왕은 추방형을 통해 섬, 수도원과 같이 막힌 공간으로 주교를 보내 격리하고자 했다. 한편 카롤루스 제국 내부의 분쟁에서 치열하게 싸운 당사자들은 추방이라는 정치적 선택을 통해 문제를 해결하려 했다. 일시적인 해결책이기는 했지만, 살려두고 멀리 보내 가두고 복귀시킨다는 프랑크 왕국의 추방 방식은 다른 시기와 비교했을 때 두드러져 보였다. 추방은 죄를 저지른 자를 처벌하는 형벌이지만, 시대를 달리하며 그 내용이 변화를 거듭했고 다른 한편으로 통치자의 권력을 강화하거나 유지하기 위해 정치적으로 선택된 전략 무기이기도 했다.