창작자(Creator)로서의 배우 양성을 위한 훈련법 연구 - 앤 보가트의 컴포지션(Composition)응용 훈련을 중심으로 - = A Study on the Methodology for Training Actor as a Creator - Focusing on Exercises of Anne Bogart’s Composition -

다국어 초록 (Multilingual Abstract)

The purpose of this study is to acknowledge the necessity of ‘creation-centered actor training' in relation to the diversifying trend of the contemporary performing arts field and to examine appropriate training methods. This researcher discussed Anne Bogart's Composition as a useful training method for the actor to play a more active role as a ‘creator' in the creation process of the performance. Accordingly, a case in which the researcher applied composition as a training method for student actors based on the basic acting course taught in Pyeongtaek University in the first semester of 2022 was examined. To this end, the concept and work method of composition as a composition task were first examined, and the analysis was divided into ‘six approaches' that can be applied to ‘initial composition training' and ‘six steps' that can be applied to ‘creation of works'. Through this, it was confirmed that the idea of creating works learned in composition work was embodied as an action and played an independent role in the creation process. In addition, ‘Object composition', ‘Text composition', and ‘Image composition' training, which were applied to the basic acting class for 9 weeks, were able to apply ‘6 approaches' for composition training and ‘6 steps' for creation to suit the material and subject of training. In this process, by examining the stages of each application training and the composition results of the student actors, it was found that composition training is a process in which the actor comprehensively understands the stage of creation and can explore the acting style suitable to the form and genre of the play. In conclusion, it was confirmed that a process of training student actors to play a role as subjects of creation in the creative process was necessary, and a ‘creation-centered actor training method' that can be applied to the actual performance production process was suggested.

참고문헌 (Reference)

1 박소현 ; 조준희, "후안 마요르가 작 ≪하멜린≫의 포스트 서사극적 캐릭터 창조 방법 연구 : 뷰포인트를 적용한 실제 프로덕션 과정을 중심으로" 한국연극교육학회 39 (39): 103-147, 2021

2 라경민, "포스트드라마 시대에 따른 배우의 몸 훈련의 방향성,‘비우기(empty)’" 한국엔터테인먼트산업학회 14 (14): 77-90, 2020

3 서나영, "스타니슬랍스키 연기론의 비판적 고찰" 한국연극교육학회 30 (30): 97-130, 2017

4 엄옥란, "샌포드 마이즈너(Sanford Meisner).의 연기훈련에 있어 주어진 상황의 인식 방법에 관한 연구" 한국연기예술학회 11 (11): 47-71, 2018

5 이문원, "뷰포인트를 활용한 앙상블 연출의 재발견* -《아미시 프로젝트》를 중심으로" 한국연극교육학회 1 (1): 157-198, 2011

6 문재철, "디지털 특수효과 영상의 타블로 효과" 한국영화학회 (78) : 69-86, 2018

7 손봉희, "동시대 연기자 교육에 있어 ‘배우훈련’이 지향해야 할 의미: 배우의 ‘준비된 상태’(a State of Readiness)" 한국엔터테인먼트산업학회 10 (10): 93-102, 2016

8 김가은 ; 박진원, "다매체 융합공연을 위한 효율적인 협업제작과정 연구" 한국콘텐츠학회 20 (20): 49-61, 2020

9 표원섭 ; 송갑석, "공동창작을 위한 뷰포인트 연기 훈련방법 연구" 한국엔터테인먼트산업학회 11 (11): 181-192, 2017

10 김원석, "공동창작에서 공연텍스트 창출을 위한 디바이징 드라마투르기 : ‘작가 없이 드라마투르기 하기’에서 ‘디바이징 에튜드’까지" 한국문화융합학회 43 (43): 487-518, 2021

11 김하영 ; 조준희, "〈스웨트.Sweat〉 트레이시 역할 창조 연구 : 반사회적 인격장애와 앤 보가트의 뷰포인트를 중심으로" 영상문화콘텐츠연구원 26 (26): 225-258, 2022

12 Bogart, A, "The Viewpoints Book" Theatre Communications Group 2005

13 Cummings, S. T, "Remaking American theatre: Charles Mee, Anne Bogart, and the SITI Company" Cambridge University Press 175-, 2006

14 Allsopp, R, "Performance Writing" 21 (21): 76-80, 1999

15 Eelka, L, "From the Battel to the Gift: The directing of Anne Bogart" 36 (36): 14-47, 1992

16 Olsberg, D, "Freedom, Structure, Freedom: Anne Bogart’s Directing Philosophy" Texas Tech University 1994

17 Hodge, A, "Actor Training" Routledge 2010