연극과 영상의 혼종적 텍스트, 연쇄극의 형식

홍재범 ( Jae Beom Hong ) 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` 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.

에쮸드 연행의 자기치료 과정과 문학적 상상력

홍재범 ( Jae Beom Hong ) 겨레어문학회 2012 겨레어문학 Vol.48 No.-

이 논문은 스타니슬랍스키 시스템의 훈련방법 중 에쮸드 연행 과정에서 발생하는 자기치료 효과와 그 효과를 강화하는 계기로서 문학적 상상력에 대해 고찰하고 있다. 스타니슬랍스키 시스템에서 에쮸드는 연기자 교육의 방법에서부터 현장 공연 준비 과정의 역할 창조에 이르기까지 광범위하게 사용되는 핵심적인 위상을 점하고 있다. 에쮸드를 통한 연기훈련과정은 심리 치료활동과 직접적인 연관이 없음에도 불구하고 참여자의 개인적 성향에 따라 자기치료적 효과를 발생시키고 있다. 에쮸드의 내용은 연행자의 실제 경험 중에서 자발적인 선택에 의해 결정된다. 교수자는 시작-중간-끝으로 구성되는 극의 문법이 에쮸드 연행자의 심리신체적 행위를 통해 형상화될 수 있도록 지도한다. 그 방법은 질문을 통해 연행자 스스로가 극의 문법을 이해하도록 하는 것이다. 반복되는 연행 과정 속에서 몇몇 연행자는 과거 심리적 상처가 되었던 사건을 에쮸드로 연행하곤 하는데, 이때 연기력 계발이라는 본래적 목적 이외에 자기치료적 효과를 경험하게 되는 경우가 발생한다. 그것은 부정적 상황 마주보기(소환), 부정적 상황 체험하기(체험), 부정적 감정 벗어나기(해방)의 세 단계로 진행된다. 에쮸드 연행이 심리치료적 효과를 발생할 수 있기 위해서는 즉흥적인 창조성이 발휘되어야 한다. 즉흥적 창조성은 상처를 유발했던 과거의 상황을 다르게 볼 수 있는 능력에서 비롯된다. 다른 삶을 상상할 수 있는 능력이 있어야 새로운 변화를 기대할 수 있다. 문학적 상상력은 자신의 과거 상처를 대상화하여 바라보고, 상황을 구성하는 조건들을 변경함으로써 기왕의 부정적 경험과 다른 행위를 시도할 수 있도록 연행자를 자극한다. This study considers the self-therapeutic process of performing an etude among the training methods of the Stanislavskii system and literary imagination as a chance to enhance the effects. In the Stanislavskii system, etudes have the core status with broad-ranged utility from the methods of actor training to the creation of roles in the process of preparing for the actual performance. Even though the training of performing through etudes does not have direct relationship with psychotherapeutic activities, it exhibits self-therapeutic effects according to the participant`s personal disposition. The contents of etudes are determined by voluntary selection among the actual experiences of the agent of performing. The instructor teaches the agent of performing in so that the grammar of a drama consisting of the beginning-middle part-ending can be embodied by the agent`s psycho-physical action. The method is to let the agent himself understand the grammar of a drama with questions. With the repetitive performing processes, some of the agents can act an event of their psychological wound in the past as an etude, and at this time, sometimes, they can experience self-therapeutic effects other than the original purpose of developing performing skills. It consists of three steps: confronting the negative situation (calling in), experiencing the negative situation (experience), and escaping from the negative situation (freedom). In order for performing to exhibit psychotherapeutic effects, they should show impromptu creativity. Impromptu creativity is originated from the ability to see the past situation leading to the wound in a different way. One should have ability to imagine different life to expect new changes. Literary imagination lets the person see his own past wound as an object and alter the conditions consisting of the situation, which stimulates the agent of performing to make trials for previous negative experiences and other kinds of action.

1930년대 휴머니즘론 연구(1)-백철의 '인간'개념을 중심으로-

홍재범(Hong Jae-beom) 한국현대문학회 2001 한국현대문학연구 Vol.10 No.-

스타니슬랍스키 스스템의 주어진 상황에 대한 교수-학습 모형(1) - 시텍스트를 매개로 하여 -

홍재범 ( Jae Beom Hong ) 한국연극학회 2002 한국연극학 Vol.0 No.19

In this study, the instruction of serial training by poetry-text has as an object to understand a given circumstance and to see through an actual diversity that cannot be prescribed by abstract word. And beyond them, how a given circumstance divides into external and internal situation and in which to recognize systematic relation with improbable physical action and to be oneself are important. This study aims at development of instruction-learning model for those. To carry out instruction of acting by poetry-text, the precondition is in removing learners negative inclination toward poetry-text. If psychological barrier is removed, a learner will face creatively with steps presented by an instructor. Before regular learning course, an instructor should introduce a learner into fundamental comprehension and sympathy with a speaker. For this, a learner has better use a text chosen by himself or herself. Even thought a text must be presented to a learner, an instructor ought not to appoint a specific poetry-text but to categorize a sphere and make a learner find a poetry-text in it. The secondary step is to recognize an external situation by comprehension of discrimination between poetry-texts in identical category. When a given circumstance is obscure, different with general feeling and in a similar given circumstance, a learner shall believe that it can take various shapes in comparison with poetry-texts. An instructor has better lead a learner to experience in displaying of rich imagination by distinguishing several texts of which external situation are distinct from others among learners chosen texts. The third step is to rediscover creation and action of internal situation by rehearsing each poetry-text. An instructor concentrates on that a learner acquires through individual reflective thought how to make a given circumstance more precisely and actually constructed and subsequent to achieve being-self. In this system recognition step is that an actor prepares an emotion for creation and a ground for experience in his or her mind through analyzing and puts life into a given circumstance to arise genuine desire naturally. This study tried to present graduate instruction-learning model that carries out that an actors probable imagination and reflective thought can make a given circumstance of drama text into being-self. If an actor loses actual quality of a given circumstance and is staying at obscure emotion that wasn`t elaborately analyzed, a stage will demolish the authenticity of a specific circumstance. The essential condition that enhances Korean theatre artistic value shall be arranged by actors outstanding capability. More elaborate and effective instruction-learning model and various instructive methods shall be developed vividly.

스타니슬랍스키 시스템의 주어진 상황에 대한 교수-학습 모형(2) -소설텍스트를 매개로-

홍재범 ( Jae Beom Hong ) 한국연극학회 2003 한국연극학 Vol.0 No.20

This study tried to present graduate instruction-learning model that carries out that an actors probable imagination and reflective thought can make a given circumstance of drama text into being-self. If an actor loses actual quality of a given circumstance and is staying at obscure emotion that wasn`t elaborately analyzed, a stage will demolish the authenticity of a specific circumstance. The essential condition that enhances Korean theatre artistic value shall be arranged by actors outstanding capability. More elaborate and effective instruction-learning model and various instructive methods shall be developed vividly. In this study, the instruction of serial training by novel-text has as an object to understand a given circumstance and to see through an actual diversity that cannot be prescribed by abstract word. And beyond them, how a given circumstance divides into external and internal situation and in which to recognize systematic relation with improbable physical and to be oneself are important. This study aims at development of instruction-learning model for those. To carry out instruction of acting by novel-text, the precondition is in removing learners negative inclination toward novel-text. If psychological barrier is removed, a learner will face creatively with steps presented by an instructor. Before regular learning course, an instructor should introduce a learner into fundamental comprehension and sympathy with a character. For this, a learner has better use a text chosen by himself or herself. Even thought a text must be presented to a learner, an instructor ought not to appoint a specific novel-text but to categorize a sphere and make a learner find a novel-text in it. The secondary step is to recognize an external situation by comprehension of historical background in a novel-text. When a given circumstance is obscure, different with general feeling and in a similar given circumstance, a learner shall believe that it can take various shapes in comparison with characters in a novel-text. An instructor has better lead a learner to experience in displaying of rich imagination by distinguishing several features of which external situation are distinct from others among learners chosen characters. The third step is to rediscover creation and action of internal situation by rehearsing each character in a novel-text. An instructor concentrates on that a learner acquires through individual reflective thought how to make a given circumstance more precisely and actually constructed and subsequent to achieve being-self. In this lesson, a learner will be sure that a physical action fully animates a given circumstance and suitably corresponds with what to be probably imagined from a novel-text. This is completed in recognition step of Stanislavsky system. In this system recognition step is that an actor prepares an emotion for creation and an ground for experience in his or her mind through analyzing and puts life into a given circumstance to arise genuine desire naturally.

소설의 시나리오 전환 과정 고찰 : 〈우리들의 행복한 시간〉의 경우

홍재범(Hong Jae-beom) 한국근대문학회 2009 한국근대문학연구 Vol.10 No.1

본고는 소설 〈우리들의 행복한 시간〉이 시나리오로 전환되면서 나타난 세부적인 변화의 원인을 매체의 성격과 결부지어 고찰하고자 한다. 거시적으로는 동일하나 미시적으로는 차이가 발견되는 두 텍스트 사이에서 변화의 동력은 매체와 양식의 차이에서 비롯된다. 원작과 시나리오는 공통적으로 사형제도의 본질적 한계 속에서 유정과 윤수의 사랑과 용서에 대한 발견-깨달음(anagnorisis)의 과정을 형상화하고 있다. 다만 그 형상화 방식에 있어 원작이 모든 상황이 종료된 후 1인칭 화자의 사색적인 반성적 사고의 흐름이 서술되는 것과 달리 시나리오는 영상매체에 부합하는 인물들의 과잉된 감정에서 비롯되는 행위에 의한 시각화가 중심이 된다. 그 과정에서 시나리오는 두 가지 변화를 일으킨다. 첫 번째는 원작의 사실들이 많은 부분 그대로 차용되지만 극양식이 요구하는 극의 문법에 맞게 변형된다. 특히 시간적으로 간격이 존재하는 두 사건을 연속된 시간으로 연결시켜 하나의 장면으로 구성한다. 두 번째는 원작의 화자가 현재적 시점에서 과거의 사실들을 회상하고 평가하는 의식의 흐름이 인물들의 행위로 전환되지 못한 채 삭제될 수밖에 없었다. This study is aimed at speculating on the cause of detailed changes presented in a novel(〈Our happy moments〉) when it was converted to a movie scenario(〈Maundy Thursday〉), by relating it with the characteristics of media. They are comprehensively identical, but microscopic view on the two texts reveal changes, which are derived from the differences in media and style. The original text and the movie scenario commonly embody the procedure of reaching the discovery-recognition(anagnorisis) of love and forgiveness between Yoo-Jeong and Yoon-Soo within the substantial restrictions of death penalty system. However, the mode of materialization between the two texts differ in that the original text predicates the flow of cognitive and reflective contemplation of the first person narrator after all the situations are over, while the movie scenario focuses on visualizing the behaviors of the characters who conform to image medium, which are originated from their exaggerated emotions. Through the procedure, the scenario provokes two changes. First, while it borrows the majority of facts from the original text without modification, they are transformed to fit in the grammar of a drama. In particular, the two incidents with apparent time difference are connected to a consecutive period to organize a screen. Second, the flow of consciousness by the narrator of the original text that reflect and evaluate past facts from the present fails to convert into the characters' behaviors, and is deleted.

스타니슬랍스키 시스템 연기용어에 대한 고찰 ( 2 ) - 현장 적용 방식을 중심으로 -

홍재범(Jae Beom Hong) 한국연극학회 2002 한국연극학 Vol.0 No.18

This thesis, in the light of Stanislavski system, concerns several acting terms mainly used in stage production of Korea these days. Among the most essential and frequently used terms in Stanislavski terminology are ‘the given circumstance’, ‘mental and physical condition(jagam)’, ‘etude’, which Korean theater has not recognized sufficiently until now, and thus passed over. It shows that Stanislavski system known to Korea has been only a part of the whole. If Korean theater achieves the proper understanding of these conceptions and their practical methods, and applies them to dramatic performance, Stanislavski system will give more contribution to the development of Korean theater. Above all, the lack of understanding the given circumstance brings about a serious problem putting an overemphasis on the emotional side in stage acting. In order to understand the given circumstance in particular text, an actor, prior to the acting ability, is required to have the reading ability, that is, he should have both literary imagination to grasp the characterization and main action of the text, and knowledge to comprehend historical and social background of the text. Based on this, he should also fill the narrative gap in accordance with the super-objective of the text so as to completely construct a character. If so, he is prepared to practice the character. Performing a role needs three steps, namely perception, experience, and representation of the character. The understanding of the given circumstance is obtained during the first perceiving step in which the actor analyzes and estimates the text. In Korean theater, the first step is so neglected that an actor more depends on the ambiguous emotion contained in the speech than the precise recognition of the given circumstance. Besides, the lack of understanding the given circumstance causes excessive promises. Without the common understanding for the given circumstance, an actor might be bewildered by an unexpected action of his counterpart. If an actor performs an action on the stage, which is not agreed upon previously in the practice, it means, in most cases, a mistake. It cannot be said, of course, that there is no mistake at all with a common understanding of the given circumstance. However, by the shared understanding, if not an actor`s critical mistake or deviation, when he offers an unexpected action that is not shown before in the practice, the counterpart may be able to respond and adapt to it with a comparatively proper impromptu. The excessive agreements, fundamentally cutting off these extempore responses, communions and adaptations, produce fossilized responses. Stanislavski system make good use of the etude to cultivate actor`s extempore communion ability and adaptability. Etude cannot be over emphasized for it is a practical means to train an actor. It consists of ‘the given circumstance’, ‘the objective’, and ‘the action to realize the objective’. However similar a character in the text may be to an actor himself, a certain distance between them exists. The way the character speaks, decided by the author, also differs from the way an actor speaks. It is one of the various functions of etude to help an actor to narrow down the gap between himself and the character he assumes.

1930년대 한국 대증비극에 나타난 자유연애결혼과 사회적 갈등

홍재범(Hong Jae-Beom) 한국현대문학회 2002 한국현대문학연구 Vol.0 No.11

만화의 시나리오 전환 과정 고찰(1)

홍재범(Hong Jae-beom) 한국현대문학회 2007 한국현대문학연구 Vol.0 No.23

본고는 만화 〈올드 보이〉가 시나리오를 전환되는 과정에 대해 구명한다. 영화 〈올드 보이〉는 일본 원작 만화를 각색하여 영화화한 것이다. 통상적으로 각색의 과정에서 변화의 주요 동력은 주제의식의 차이에서 발생하며 〈올드 보이〉 역시 마찬가지이다. 원작은 인간의 존재론적인 고독을 주제의식으로 삼고있다. 만화 〈올드 보이〉가 시나리오 〈올드 보이〉로 각색되면서 가장 크게 변화된 것은 주제의식이다. 시나리오 〈올드 보이〉의 주제의식은 복수의 대상과 결부되어 있다. 그것은 죄의식이다. 죄의식을 불러일으킨 최초의 원인제공자인 오대수의 말과 누나를 죽음으로 몰아간 이우진의 죄의식이다. 이우진의 죄의식이 오대수에게 투사되어 그를 감금하게 만드는 서사의 추동력으로 작용한다. 만화의 영화화 과정에서 발생하는 이러한 변화는 매체 성격의 상이함에 의해 필연적이라는 특징을 지닌다. 만화가 제시하고 있는 감금의 원인은 인물의 행위가 사건의 중심이 되는 영화 매체에서는 수용하기 곤란한 것이다. 지나치게 관념적인 내용의 장면들을 그대로 영상으로 옮겨 올 경우 관객들은 흥미를 느끼기 어렵다. 이를 해결하기 위한 매개사건이 근친상간적 사랑과 말의 힘(소문)이다. 이 과정에서 인물의 추가와 성격변화가 발생하고 주어진 상황이 변경되었다. 이러한 변화를 통해 부각되는 주제의식은 인간의 자유의지와 진정한 사랑의 한계이다. 이러한 주제의식이 관객들에게 강한 호소력을 지닐 수 있는 것은 그것이 발견-깨달음과 함께 이루어지는 급전이 발생하기 때문이다. 원작은 결말에서 인물의 내면을 고양시키는 발견-깨달음이 부재한다. 시나리오 〈올드 보이〉는 새로운 주제의식을 구현하기 위해 주어진 상황과 인물의 성격을 유기적으로 결합하여 변화시킴으로써 원작의 평면성을 넘어서는 성과를 거두었다. 그 결과 각색 행위의 창조적 가치를 탁월하게 제시하였다. Focusing on the conversion of a comics into a scenario at the level of written text, this paper examined the adaptation of Old Boy(a comics). The movie Old Boy is an adaptation of Japanese comics. It is often observed that the gap between the original and the adapted is subject matter, and Old Boy is the same case. The comics deals with the ontological solitude of humanity. This theme has changed a lot when the comics was adapted into movie. The scenario Old Boy focuses on revenge. And revenge is caused by guilty. The guilty is Lee Woo Jin’s. His guilty made his sister suicide. His guilty was reflected into Oh Daesoo and made Lee himself imprison Oh. Such change emerging from the adaptation of comics into move is inevitable due to the difference of medium. The reason of imprisonment in the comics is hardly receptive for movie. As actions centres around event in it. The audience would not be interested when too much ideal things are transferred on the film. To avoid this, the movie employs the incestuous love and the power of speech, rumour. Here, another characters have been created and personality and given circumstances changed. Through this change, man’s will to freedom and the limitation of true love came to be the theme of the movie. The power of the theme into the audience is due to the fact that it comes with discovery-awareness. In it, a character experiences heightening his inner nature. The cartoon goes without discovery-awareness. The scenario Old Boy succeeded in overcoming the flatness of the original. It changed original materials and, at the same time, organically combined given circumstances and characters. And it built up the new subject matter. As a result of this, the excellent creativeness of adaptation has emerged.

신체적 행위를 위한 희곡텍스트의 내재적 분석 - <환절기>의 장면 목표와 초목표를 중심으로

홍재범 ( Jae Beom Hong ) 겨레어문학회 2014 겨레어문학 Vol.53 No.-

이 논문은 <환절기>의 장면 목표와 초목표의 도출을 통해 신체적 행위를 위한 희곡텍스트의 내재적 분석을 수행한다. 이는 순수 수용자인 독자-관객의 입장이 아닌 수용자이자 생산자인 독자-연기자의 위치에서 <환절기>를 읽어내는 것이다. 그것은 ‘A가 B하기 위해 C에게/를(에 대항 하여/와 협력하여) D한다’로 표현되는 목표의 문장화로 구체화된다. 각각 의 장면 목표는 이와 같은 형식의 두 문장, 즉 대립하는 두 인물의 목표 중 하나가 선택된다. 선택된 각 장면의 목표들이 하나의 선으로 관통하여 유기적으로 초목표에 도달할수 있을 때 올바르게 도출된 것이다. 각 각의 에피소드와 장면 그리고 막에는 크고 작고 중간 정도의 그리고 중 요하거나 부차적인 목표들이 존재한다. 각 단위의 목표들을 통해 구체화 되어 텍스트 전체를 관통하는 주인공의 행위를 관통행위라 한다. <환절 기>의 관통행위는 대빈과 나영이 직접적으로 속내를 털어놓는 마지막장면에 의해 명확해진다. 표면적 행동들 속에 감추어져 있는 의도를 5막의 끝부분에 기초하여 다시 처음부터 파악해야 한다. 작가에게 있어 관통행 위가 초목표를 발전시켜나가는 것이라고 한다면 연기자에게 있어 관통행 위는 공연텍스트의 초목표에 적극적으로 도달하고자 하는 것이다. 따라서 무대 위에서 대빈과 나영 각자의 관통행위는 <환절기>의 초목표를 형상화하는 것에 맞추어져야 한다. 애매한 완곡어법 속에 숨겨 논 대빈과 나영의 진정한 욕망을 파악하는 데는 한 문장으로 압축시키는 목표 찾기 가 매우 유효하다. 목표의 문장화 작업은 연기자의 심리-신체적 행위를위한 거울이자 지렛대이다. 목표를 적확한 하나의 문장으로 압축할수 있는 언어적표현을 찾기 위한 사고의 과정은 그 자체로 인물의 내적 욕구를 깊이 있게 탐색하는 시간이다. This study conducts an implicit analysis of the play text for physical actions through drawing scene objectives and a super-objective of Hwanjeolgi (Change of Seasons). This is to read Hwanjeolgi, not from the position of a pure recipient, reader-audience, but from that of a recipient and producer, reader-performer. That is embodied as the formation of a sentence of an object expressed as ‘A does D to (against/in cooperation with) C to do B.’ One of the objects of two sentences in this form, that is, two opposing characters, is chosen as each scene object. It is correctly drawn when the objects of each chosen scene penetrate in a single line and can reach the super-objective organically. In each episode, scene and act, big, small and medium, and important or secondary objects exist. The main characters`` action that penetrates the entire text, concretized through the objects of each unit is called through-going actions. The through-going action in Hwanjeolgi becomes clear at the last scene in which Dae-bin and Na-yeong open their hearts themselves. The intent hidden in superficial actions should be understood again from the beginning based on the ending of Act 5.The through-going action is to develop the super- objective for a writer while it is to actively try to reach that of a performance text for a performer. Thus, on the stage, through-going action of Dae-bin and Na-yeong should be focused on the configuration of the super-objective of Hwanjeolgi. In order to understand their true desires hidden in ambiguous euphemisms, finding an object that boils them down to a single sentence is very effective. The job of forming a sentence of an object is a mirror and lever for a performer``s psycho-physical actions. The process of thinking to find linguistic expressions that could boil down an object to one accurate sentence is itself a time to explore the characters`` inner desires in depth.