창조적 연기자를 위한 연기훈련 방안으로서의 오이리트미 -체홉의 연기훈련 방법론을 중심으로- = Eurythmie as an Acting Training Program for Creative Actors

다국어 초록 (Multilingual Abstract)

This thesis starts from consideration of the problem: how an actor can spend each time with more liberal and lively words and gestures on a stage. It must be the most urgent problem for an actor who has to stand on a stage every time and it is certain that Eurythmie is one of the newest acting methodologies that can solve such problems. Michael Chekhov who was once a disciple of Stanislavski and an excellent actor of the Moscow Art Theater was greatly influenced by Eurythmie, the art theory of Rudolph Steiner who was a famous cognitive scientist in the world. Through his Eurythmie, Steiner lamented bitterly at the fact that these days` language was degraded as expressional menas for academic recognition or merely as delivering media for delivering information in our daily lives. And asking for basic reflection on language, he asserted that language must be returned to its original state as an expression of human soul. But jumping over Steiner`s study of sound and movement, Michael Chekhov used Eurythmie as one of his acting techniques and absorbed deeply in the inner impulse and feelings being inherent in sound itself and the intimate co-relations between sound, gesture and mental state. In other words, each sound has its own characteristics and he absorbed in what the characteristics of sound itself were and what kind of gestures and mental state the sound had. To Chekhov, Eurythmie became an essential and necessary course for actors. And he believed that through Eurythmie training, actors could become familiar with various gestures related to consonants and vowels, and Eurythmie could vitalize actors` aesthetic speeches. Therefore, in this thesis, the researcher examined Rudolph Steiner`s Eurythmie as language movement arts that influenced much on Michael Chekhov spiritually and artistically while he found his methodology; and Eurythmie of Michael Chekhov who deepened and integrated it to one of his own acting methodologies; and how Eurythmie could work on Korean consonants, vowels and texts (scripts). However, we can`t deny the fact that more researches thereof and application measures to acting must be continuously made. In addition, the researcher could find that in vowels that are expression of inner emotion of human being, feelings and echo of sound and gestures being suggested by Steiner appear similarly in our actors, too, but in consonants, there are more differences in some aspects than in vowels. The reason is because although basically human experiences come in contact with each other and have some universality, in some parts, each nation has experienced different cultural and historical developmental course. Furthermore, we can`t deny the fact that frequent uses of Chinese characters in Korean scripts are another obstacle to application of Eurythmie. As structures of Chinese characters and Korean language are mutually different, how to apply Eurythmie to Korean language with Chinese characters is thought to be an important task of study to be tried later. But in spite of such tasks left, Eurythmie is a precious product that makes us look straight on overlooked substance of language itself and meet with musical characters being inherent in sounds and prevents actor`s language from disappearing without vitality. By means of meeting with Eurythmie, we can feel substantial characteristics and echo of sound newly and experience intimate co-relationship between sounds, gestures and human emotion. And as for the problems: how the present of Steiner and Michael Chekhov would blossom creatively in our art work, only continuous and sincere researches and attempts of us for them would be able to suggest a direction thereof.