• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.203-210
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• 2021

Yuri Vasilyev - actor, director and drama teacher. Russian meritorious artist, winner of the stage "Medal of Friendship" awarded by Russian President Vladimir Putin; academician of the Petrovsky Academy of Sciences and Arts in Russia, professor of the Russian National Academy of Performing Arts, and professor of the Bavarian Academy of Drama in Munich, Germany. The physiological sense stimulation method based on the improvement of voice, language and motor function of drama actors. On the basis of a systematic understanding of performing arts, Yuri Vasiliev created a unique training method of speech expression and skills. From the complicated art training, we find out the most critical skills for focused training, which we call basic skills training. Throughout the whole training process, Professor Yuri made a clear request for the actor's lines: "action! This is the basis of actors' creation. So action is the key! Action and voice are closely linked. Actor's voice is human voice, human life, human feeling, human experience and disaster. It is also the foundation of creation that actors acquire their own voice. What we are engaged in is pronunciation, breathing, tone and intonation, speed and rhythm, expressiveness, sincerity, stage voice and movement, gesture, all of which are used to train the voice of actors according to the standard of drama. In short, Professor Yuri's training course is not only the training of stage performance and skills, but also contains a rich view of drama and performance. I think, in addition to learning from the means and methods of training, it is more important for us to understand the starting point and training objectives of Professor Yuri's use of these exercises.

• Cartoon and Animation Studies
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• s.16
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• pp.165-178
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• 2009

It seems like that the main stream of animation for theaters transferred from cells to 30 animations. It can be easily seen if current situation is compared to the time when al! works were Cell animations. Although earlier papers were mostly about studies on Cell animation works, future studies will publish papers related to 30. Accordingly, this study studied the association of the researcher's paper with 30 works while It had been applied to 20. Then, based on the data, this study analyzed how major/supporting characters were transformed to animation characters in the scenes that were animated at the beginning and end of film that were reieased in 2007. This result was compared with the character made using a voice actor in the Pixar's long piece of animation for theater that had been already screened. The data were made into values to some extent in an attempt to increase satisfaction in the result of analysis comparing the character with the voice actor. When making characters using actual persons, it is hoped that grasping the modeling factors of the images making 20/30 characters as indicated in this study will be helpful in producing animation characters.

• Proceedings of the Korea Information Processing Society Conference
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• 2015.04a
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• pp.833-836
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• 2015

한국영화에 대한 선호도가 이미 국내에서는 외국 영화의 선호도를 넘어선지 오래된 상황이다. 그만큼 내용적으로나 영화의 완성도를 보태주는 CG 기술 등 흥행을 뒷받침 할 수 있는 요소가 충분히 갖추어 졌다는 것이다. 그러나 여기서 주목하지 않을 수 없는 것은 바로 출연 배우들의 연기력이 아닐 수 없다. 이 같은 관점에서 본 논문에서는 우선적으로 우리나라 남자 주연배우들의 인터뷰 속 목소리의 공통점은 무엇이고 이것이 의미하는 바가 무엇인 지에 대해 음성 분석 기술을 통해 이를 정량적, 시각적으로 추출, 분석해 내는 방법을 제시하고자 한다.

• 건강소식
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• v.37 no.12
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• pp.16-17
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• 2013

화장기 없이 자연스러운 미인. 웃을 때 미소가 너무 예쁘다. 성격이 털털하고 순수해 보인다. 중저음의 목소리가 매력적이다. 연기를 정말 잘 하지만 겸손하고 잘난 척 하지 않는다. 모두 배우 송지효를 겨냥한 칭찬들이다. 대한민국의 대표적인 여배우 송지효의 매력을 파헤쳐본다.

• 월간산업보건
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• s.386
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• pp.60-61
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• 2020

영화 <주디>는 할리우드 스타 주디 갈런드의 삶을 되짚는다. 어린 나이에 배우로서의 명성을 얻은 주디(르네 젤위거 분)는 언뜻 성공한 삶을 사는 듯하다. 그러나 성공 이면에는 탐욕스러운 부모와 제작자에 의해 돈벌이 수단으로만 여겨졌던 쓸쓸한 인생이 있다. 주디처럼 쉴 새 없이 노래하며 목을 혹사해야 하는 가수는 성대결절에 걸리기 쉽다.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.237-249
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• 2020

This study analyzed the characteristic factors of musical actor that affect the audience's loyalty to the performance by inducing the audience's sensory presence which is the unique characteristic of the performing arts and analyzed the mediating effects of audience's sensory presence between the characteristics of musical actor and audience's loyalty to the performance. Actor's characteristics which are an independent variable were composed with the appearance of actor, acting skills, sing ability and actor's known degree. Audience's sensory presence which is mediating variable was divided into immersion and identification. Audience's loyalty to the performance which is a dependent variable was set as intention of recommendation and intention of revisit the performance. The result of analysis shows that identification have significant mediating effects in all independent variables except between actor's known degree and the audience loyalty to the performance. It shows immersion have also significant mediating effects among all independent variables and the audience loyalty to the performance. The multiple mediating effects of Immersion and Identification between Actor's characteristics and Loyalty to the performance have significant effects all parts. Especially, The result of this study shows that indirect effects that arrive to the loyalty through immersion or identification are larger than the direct effect that actor's characteristics affect to the loyalty to the performance. Actor's characteristics which affect Audience's loyalty to the performance by mediating Audience's sensory presence are shown in order of appearance of actor, acting skills, sing ability and actor's known degree. These results suggest key factors of musical actor's characteristics which lead loyalty to the performance by mediating Audience's sensory presence to musical producers and directors and actors.

• KLA journal
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• v.41 no.4 s.323
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• pp.25-33
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• 2000

제 66차 IFLA(The International Federation of Library Associations and Institutions) 총회가 2000년 8월 13일부터 8월 18일 까지 이스라엘의 예루살렘에서 개최되었다. IFLA는 1927년 창설된 비정부 기구로서 그 주요 목적은 정보관리, 유통, 정보서비스 및 사서의 교육을 포함한 도서관 활동과 문헌정보학 전반에 걸친 국제적인 상호 이해 증진과 협력, 토론, 연구 및 개발을 증진시키고 도서관인들의 국제적 관심사를 논하는 토론의 장을 제공하며, 전 세계에 문헌정보분야 및 사서들의 활동 그리고 현주소를 하나된 목소리로 대변하고 알리는 단일화된 창구역할을 담당하는 우리분야의 세계적인 대표단체이다. 현재 143개국의 1622개 도서관 및 관련단체들이 가입되어있으며 우리나라에서는 우리협회가 1955년 가입하였다. 이번 대회는 'Information for Cooperation: Creating the Global Library of the Future'라는 주제로 전 세계에서 90개국 1800여명의 도서관인들이 참가하여 성황을 이루었다. 우리나라에서는 한국도서관협회 이두영 회장을 비롯한 총 36명이 참가하여 세계 각 국의 도서관인을 만나고, 배우는 좋은 기회를 가졌다. 뜻밖의 참관기 의뢰를 받고 망설였으나, 여행 중에는 수시로 간단히 기록해 두는 습관에 의해 메모해 두었던 것과 출장계획이 미리 잡혀있어 준비해온 과정 그리고 나의 여행체험을 바탕으로 하여 기행문 형식으로 적어 봄으로 미흡하나마 독자들로 하여금 본 대화와 여행의 경험을 함께 나눌 수 있게 되기를 바라는 마음이다.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.123-132
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• 2019

This paper analyzes the performances of actor Song Kang-Ho in the background of interdisciplinary and integrated film acting, using performance rather than acting as a general term. If the act is a concept limited to acting training or acting skills, performance is a broad concept that includes expressions, movements, and emotions. The performance on the screen can be explained in the context of film and can be extended to the social attitude of acting. In addition, I used the term screen in terms of representation rather than film referring to medium. Song Kang-Ho expressed the performances of various characters in more than 30 films. Although his facial expressions, gestures, and voices suitable for individual characters in various genres are represented in various ways, personality inherent in the actor Song Kang-Ho integrates persona with character. What drives it is the social attitude of screen performance. As a sign, acting is an ideological construct and foregrounds a character who describes a certain social and historical moment. Song Gang-Ho as actor, persona and character, who asserts the popularity, speaks to society and makes discourse. His comic performance is always confronting the tragedy of life, his face is the spirit of the times, and it expands into social meaning. The face of the close-up does not laugh at all, the gesture symbolized by the curved rear view is exaggerated disorderedly and disturbingly, and the voice using dialect accent does not follow the standard of the vocal.

• Phonetics and Speech Sciences
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• v.15 no.4
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• pp.27-34
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• 2023

This study aimed to provide knowledge helpful for understanding voice problems related to occupations in the clinical field through an investigation and comparison of subjective vocal symptoms of 12 professional actors and 12 speech-language pathologists Among the 11 symptoms, "Difficulty with high pitch when singing," "Hypertension in the neck when speaking," and "Feel voice fatigue" were the most frequent symptoms in both groups. Additionally, the professional voice users reported a higher frequency of "Difficulty with high pitch when singing" (p=.049), "Hoarse voice" (p=.021), "Difficulty (requiring effort) when speaking" (p=.032), "Pain in the neck when speaking" (p=.009), and "Feel vocal fatigue" (p=.018) than the elite vocal performer group. This may be due to the different voice-related environments and differences in voice demands during occupational activities between the two groups.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.91-102
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• 2020

The purpose of this study is to analyze musical songs from an academic perspective by applying vocal techniques that can express songs in depth in three dimensions. Singing a musical song cannot be completed with just the musical part, rather, it should be accompanied by the analysis of various aspects such as the emotional state of the scenes and the characters. To this end, this study performed a multi-dimensional analysis of fields such as theatrical structure, lyrics, musical structure, and dynamics. In addition, the study explored and applied Estill Voice Training(EVT) that actors can best express songs with the emotions of the theater and music. EVT categorizes voice into six tones: speech, sob/cry, falsetto, twang, opera, and belting. In this study, in addition to these six sounds, the positions of vocal cords and larynx were also applied to seek ways to effectively express songs using "Gar Nichts" from the musical "Elisabeth" as a case study. "Gar Nichts" is a song sung by the protagonist Elisabeth, which expresses the self and the conflict at the peak of pain. Musically, this song requires various sound and voice-changing techniques to cover the range of "G#3-Gb5." As a result, it was confirmed that in order to embody the emotions of the characters and the songs in depth, the analysis of scenes and characters as well as various singing techniques need to be applied in harmony.