DOI QR코드

DOI QR Code

An Exploration of a Way for Contemporary Actor Training/Acting: A Perspective from Denis Diderot and Tadashi Suzuki's Concepts

  • Received : 2021.01.31
  • Accepted : 2021.02.15
  • Published : 2021.03.31

Abstract

This research aims to reconsider the necessity of an alternative way(s) for contemporary actor training and acting in discussing and articulating Diderot and Suzuki's concepts and approaches for acting/training. First of all, the physical body, assumed and conceptualized by Diderot is beyond our control by means of a type of radical body/mind dualism, and is based on the concept that body and mind are separate. In contrast, Suzuki's notion of acting/training is raised by his concern about the role of an actor's body in the constitution of an actor's bodily experience against the imitation of the West-oriented theatre/acting/training. The descriptions of the two theatre artists' notion of acting/training gives us insight into the place and role of contemporary theatre as a practical root to encounter and communicate between a doer and a spectator where an actor's body must appropriately be attuned and cultivated towards the cultivation of bodily attributes which are foundation but usually neglected by actors/directors/practitioners particularly in Korea. Especially, misunderstanding of a specific training sources/approaches, namely 'scientific system' and the 'method' have taken us away from the potential possibilities of the lived oneness. Here, the 'possibility' refers to the primary bodily functions within a specific context or being in the here and now rather than attempting to copying, imitating and/or adapting a specific cultural source(s)/approaches/techniques as we have faced with through the previous century. We reconsider and argue that a potential way to correspond the nature of theatre/acting/training is that how to meet the demand of contemporary spectators which in turn intensifies an actor's stability, sustainability and hopefully professional identity in this contemporary era.

Keywords

References

  1. I. Watson, Eugenio Barba's Theatre Anthropology: An Intercultural Methodology, in The Intercultural Performance Reader, eds. Patrice Pavis, London, Routledge, pp. 223-228, 1996.
  2. Kim, Daihyun, "A Study on ," The Journal of Korean Theatre Education, Korean Association for Theatre Education, Vol. 36, pp. 49-54, June 2020.
  3. P. B. Zarrilli, D. Jerri, and L. Rebecca, Acting: Psychophysical Phenomenon and Process, London, New York, Routledge, p. 11, 2013.
  4. E. Barba, The Paper Canoe: A Guide to Theatre Anthropology, London, Routledge, pp. 156-157, 1995.
  5. D. Krasner, Strasberg, Adler and Meisner: Method Acting, in Twentieth Century Actor Training, eds. Alison Hodge, New York, Routledge, p. 148, 2000.
  6. E. A. Konijn, Acting Emotions, Amsterdam, Amsterdam University Press, pp. 26-27, 2000.
  7. J. Harrop, Acting: Theatre Concepts Series, London, Routledge, p. 34, 1992.
  8. T. Cole and H. K. Chinoy, Actors on Acting, New York, Crown Publishers Inc, p. 161, 1970.
  9. D. Meyer-Dinkgrafe, Approaches to Acting: Past and Present, London, New York, Continuum, p. 29, 2001.
  10. E. A. Konijn, Acting Emotions, Amsterdam, Amsterdam University Press, p. 21, 2000.
  11. J. R. Roach, The Player's Passion: Studies in the Science of Acting, London, Toronto, Associated University Presses, p. 134, 1985.
  12. J. R. Roach, The Player's Passion: Studies in the Science of Acting, London, Toronto, AssociatedUniversity Presses, p. 117, 1985.
  13. D. Meyer-Dinkgrafe, Approaches to Acting: Past and Present, London, New York, Continuum, p. 28,2001.
  14. T. Suzuki, The Way of Acting: the Theatre Writings of Tadashi Suzuki, New York, TCG, pp. 3-5, 1986.
  15. J. Goodridge, Rhythm and Timing of Movement in Performance: Drama, Dance and Ceremony, London, Jessica Kingsley Publishers, p. 53, 1999.
  16. T. Suzuki, The Way of Acting: the Theatre Writings of Tadashi Suzuki, New York, TCG, pp. 6-7, 1986.
  17. S. Mitter and M. Shevtsova, Fifty Key Theatre Directors, New York, Routledge, p. 167, 2005.
  18. R. Brestoff, The Great Acting Teachers and Their Methods, Lyme, Smith and Kraus, p. 164, 1995.
  19. P. Allain, The Art of Stillness: the Theatre Practice of Tadashi Suzuki, London, Methuen, p. 119, 2002.
  20. P. B. Zarrilli, (Toward) A Phenomenology of Acting, London, New York, Routledge, p. 9, 2020.
  21. P. Allain, The Art of Stillness: the Theatre Practice of Tadashi Suzuki, London, Methuen, p. 117, 2002.
  22. Z. Motokiyo, On the Art of No Drama: The Major Treatises of Zeami, Princeton, Princeton University Press, pp. XI-XII, 1984.
  23. P. Allain, The Art of Stillness: the Theatre Practice of Tadashi Suzuki, London, Methuen, p. 110, 2002.
  24. P. Spencer, Society and the Dance: the Social Anthropology of Process and Performance, Cambridge, Cambridge University Press, p. 66, 1985.
  25. P. Allain, The Art of Stillness: the Theatre Practice of Tadashi Suzuki, London, Methuen, p. 126-128, 2002.
  26. Z. Motokiyo, On the Art of No Drama: The Major Treatises of Zeami, Princeton, Princeton UniversityPress, pp. XXXIX, 1984.
  27. A. M. Wilson, Diderot, Oxford University Press, p. 61, 1972.
  28. R. Schechner and L. Wolford, The Grotowski Sourcebook, London, New York, Routledge, p. 31, 1997.
  29. E. Barba and N. Savarese, A Dictionary of Theatre Anthropology: the Secret Art of the Performer, London, Routledge, p. 245, 1991.
  30. R. Schechner, Between Theatre Anthropology, University of Pennsylvania Press, p. 257, 1985.
  31. Z. Motokiyo, On the Art of No Drama: The Major Treatises of Zeami, Princeton, Princeton UniversityPress, pp. XXXV, 1984.
  32. P. B. Zarrilli, Acting (Re)Considered: A Theoretical and Practical Guide, London, New York, Routledge, p. 163-167, 2002.