다큐멘터리극에 대한 인지과학적 접근－"전윤환의 전윤환, 자의식 과잉"을 중심으로 = The Cognitive Scientific Approach to a Documentary Drama: Jeon Yun-hwan’s Jeon Yun-hwan, Excessive Self-consciousness

다국어 초록 (Multilingual Abstract)

This paper begins the discussion on the premise that scientific explanations of cognitive mechanisms can be mobilized effectively as an analytical tool for aesthetic practice and theoretical criticism of documentary dramas. The work to be analyzed is Jeon Yun-hwan’s Jeon Yun-hwan, Excessive Self-consciousness, which was performed for the sixth members’ Fall Festival at Hyehwa-dong 1st Street in 2018. As the title suggests, it is judged that the cognitive approach to documentary dramas could be well applied, as the work can be called as a documentary about his self-consciousness and spirit of its director Jun Yoon-hwan. This paper analyzes how actors and real people, the stage and the media in the drama are cognitively conceptual blending, and what emotional experiences the audience has in particular while watching the drama. Various combinations of facts and fiction, media and bodies take place in the documentary drama, so this paper examines the conceptual blending theory of cognitive science for its explanation.
In the work, the mixed-level that the audience can perceive spans two floors. First, when the actors of the troupe And Theater play Jeon Yun-hwan on stage, there is a conceptual blending between the real actor and the fictional character Jeon Yun-hwan. Second, in the midst of the unfolding story in the play, when the interview scenes of members of the troupe, including Jeon Yoon-hwan, are projected onto the stage on screen, a conceptual blending between the screen and the stage area occurs.
In the main narrative space, actors do not just play the role of Jeon Yun-hwan. The audience can watch the mixed actors/characters as certain actors are combined in the special role of Jeon Yun-hwan. However, if the mixture is broken and the transition between fictional frames in the play and the real world is made, the audience will have fun. Thanks to this process of mixing/dissolution, audiences’ cognitive processes are circulating in a variety of voices that intersect the fictional and the real areas. The screen is responsible for the effects of the intrusion of the real world, mixing patterns, and fluctuating perception. Through the screen, the audience's cognitive function is floated in a variety of voices intersecting fictional and the real areas.
Surrounding the mix and dissolution of actor/character or scree/stage, the polymorphism in this major narrative space designs the intentional points of friction, contradiction, and stop. In this interpretative sense, the audience become suspicious of the indicative status of the real world in which the director and the actors belong, and testify their existing cognitive schematics.
Meanwhile, through each episodes, Jeon Yun-hwan’s, self-pity, anger, anxiety and self-loathing are perceived by the audience as his key self. In the final scene, however, the feeling of Jeon Yun-hwan as a autobiographical self who deepened his inner circle and cemented his solidarity with the members is shaping up on the stage. The autobiographical meaning formed here reflects the self-portrait of all young artists who go beyond personal speciality and do plays of this period.
As the narrative, emotion and feeling of this autobiographical self forms on stage, the performance of the documentary play becomes more realistic than it really is. The distance between performance and reality collapses and the life on stage of Jun Yun-hwan and And Theater’s actors becomes real life. In other words, the main action of the documentary drama Jeon Yun-hwan’s Jeon Yun-hwan’s, excessiveself-consciousness is the work of young directors and actors themselves as a difference that sometimes resists all kinds of structural contradictions in this era or sometimes tolerates them and tries to approach us from the edges, extreme limits, and distance.

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