• The Journal of the Korea Contents Association
• /
• v.16 no.9
• /
• pp.502-511
• /
• 2016

This article reviews the film acting studies of Kracauer presenting the basic approach of traditional film theory. It is to provide a foundation for film acting theory in order to activate the domestic acting studies. While Kracauer explaines the difference between traditional stage actor and film actor in 'Remarks on the Actor' of Theory of Film(1960), he suggests the characteristics of the cinema acting and its media technical meanings. He emphasizes the acting forms presenting the postwar new realism in his film acting studies. His approach takes the perspective of 'physical reality' or 'camera reality' which is the basic premise of film theory. Kracauer insists the naturalness of the actors, listing the features of professional actors, non-professional actors and Hollywood stars as they are a familiar classification for the types of actors. He does not prefer the Hollywood stars, whether it is fiction or documentary, professional or non-professional actors, but he emphasizes negative acting, the ability to express words by doing nothing, based on indeterminacy or indefiniteness of the film. Kracauer's film acting studies has affected later film theory and media-related acting, and has become the principles of cinema textbook and acting.

• The Journal of the Korea Contents Association
• /
• v.10 no.2
• /
• pp.224-230
• /
• 2010

The method to approach to acting today is based upon Stanislavski's initial theories. This method that emphasizes actors' inner world makes actors nervous and frustrated over again. Watching actors' agony, Stanislavski tried to find a fine method all his life that actors could approach to acting more easily. He, at last, created a new method in the sunset of his life, so called physical action, which approaches to emotion through action. However, it has not been accepted widely because it was transmitted to the western world too late. Emotion is not the thing that everyone can handle freely. But everyone can handle action easily. It can, therefore, be an excellent method to reduce actors' agony. This study tried to experience Stanislavski's physical action with a text and to find out how it works as an acting method. As a result of it, Stanislavski's physical action proved to be a valuable method to complement the existing one, and also to have many other positive effects on the natures of acting.

• The Journal of the Korea Contents Association
• /
• v.14 no.5
• /
• pp.95-106
• /
• 2014

Meyerhold's 'Biomechanics', which germinated from a critical point of view towards naturalism theatre, is a primary acting method that attempted to approach to acting in a material way, along with Stanislavski's 'System'. However, not only for a reason of the political background that all study on Meyerhold were forbidden in Russia but also for a reason of universalization of Stanislavski's 'System' through the world mutated into American acting method, it is a fact that Meyerhold's 'Biomechanics' is not actively utilized in a field of actor training at the present day. Especially, in case of actor training in Korea, 'Biomechanics' is also misunderstood as a method only focused on an actor's physical approach. Therefore, a purpose of this study is to explore usefulness of 'Biomechanics' in order to practically apply it to the actor training through correct understanding.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.3
• /
• pp.101-110
• /
• 2019

The actor's art work is to build and create a role on stage based on the writer's drama. The actor's role creation is possible by analyzing the role of the writer in the drama logically and acting it actively. This is how an actor who practices practical acts goes beyond a stereotypical role-building and performs live acting skills. A case study in the field work for the application of Etude is absolutely necessary at present, where Etude of Stanislavsky is operated in Korean university education and field. This study will be a case in which Etude, which is a scientific and systematic acting methodology of Stanislavsky, is recognized and applied in the field as a methodology for more extended actor training methodology rather than making a judgment about the value of Etude as applied to theater education and the field as an acting training method. The researcher will introduce the methodology of using Etude as an acting method of Stanislavsky through the use of Etude in the creative play , and would like to give an example of an acting creation process model about 'how to apply Etude'. Through these studies and applications, actors can avoid falling into stereotypes and mannerism, and prepare the foundations for a living actor's art, the acting guide for creating a practical role.

• The Journal of the Korea Contents Association
• /
• v.21 no.9
• /
• pp.136-148
• /
• 2021

In this study, the theoretical principle and structural practice of Estill Voice Training model that enables independent control of voice organs in the actor's acting art using voice as a medium of artistic expression. Its purpose is to explore the positive utility that can be applied to operation. The research on the speech science methodology that controls the differences in speech output due to the principle of the generation organ is a reality that has not been actively introduced in Korea compared to the existing actor's speech training that encompasses both the mind and the body. Voice can guarantee the accuracy and stability of operation when an understanding of our body is preceded based on anatomical physiology as well as contribute to the characterization of the character's phonetic character an element of character creation. Considering the training model through proprioception in actor voice training has practical value and alternative significance that the actor can be sought as a principle and practical methodology in the process of generating a series of target sounds.

• The Journal of the Korea Contents Association
• /
• v.14 no.11
• /
• pp.89-101
• /
• 2014

The 'Biomechanics', which was devised to systematically train actor's material and medium, is evaluated as the first approach to an acting method in earnest with Stanislavsky's 'System'. Especially, due to the psycho-physical features of 'Biomechanics' that helps an actor to master a mechanism of human being such as stimulus, impulse and reaction, it was valued as an alternative for a naturalistic acting method that was excessively focused on the actor's emotional expression. However, the 'Biomechanics' is not utilized with activity in a field of actor training in Korea compared with Stanislavsky's 'The Method of Physical Action' which has a similar starting point as the psycho-physical feature. It is because of a political reason that a study for Meyerhold was officially forbidden in Russia until the mid-twentieth century. It is also because of a limit that incorporeal features of the 'Biomechanics' could not but be explained only by publications, especially translation. In this sense, as part of seeking for a new alternative of acting methods in Korea, this study will explore a possibility of applying the 'Biomechanics' to the actual actor training field through correct understanding of it.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.1
• /
• pp.59-67
• /
• 2019

This article examines how Brecht's Gestus is borrowed and transformed into the film. I examined the critical debates on the film's use of Brecht and the style of Brecht's acting adopted in radical experimental films and Hollywood films. In addition, through the case of Korean film actor/ress, I sought to apply the Brechtian theory. First, despite the criticism that the film's acceptance of Brecht is overly formal and mechanical, film theory and practice reflect Brecht's ideas. In particular, regardless of the socio-political situation of Brecht's day, his Gestus is suitable and useful for film acting. Brecht's thought was realized by technological innovations such as montage and computer special effects, and above all, the social attitude of the actor was popularized through the education of the audience. Second, his strategy on performance is no longer unfamiliar, and goes beyond the boundaries of contradictory daily life and art, and becomes the pleasure of popular film. Although the intentions of naturalism and anti-naturalism in acting arts are different, the process and effects look at the same point. Third, through the case of Korean film actor/ress as an attempt of popular understanding about Brecht strategy, I could confirm the possibility of searching identity of Korean film actor/ress.

• The Journal of the Korea Contents Association
• /
• v.17 no.12
• /
• pp.408-416
• /
• 2017

This researcher looked at the characteristics of "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques focused on body expressions and sought to utilize it as training method for modern actors. 'Body postponement as a symbol' is a key characteristic of "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques, and each facial expression, gesture, and movement performed by an actor has a specific meaning. Therefore, the study on "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" has been treated as a major study mainly in the non-realistic expression style or the body-centered acting theory. Therefore, a study on "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques was mainly dealt with as a major research subject in the nonrealistic expression style or body-centered acting theory. This study, on the other hand, emphasized the importance of research on the utilization plan of actor training, which can be usually used in realistic plays as well as non-realistic plays. According to psychologists such as Damasio and Eckman, internal impulses can also be triggered through expressions and actions associated with emotions. In addition, not only acting through the actor's inner impulse, but also expression of the actor's faithful external emotion can trigger the emotion of the audience. Such a case can be a psychological basis that "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques, which defines rasa and expresses it physically, can be used as a methodology to enhance inner truth. Therefore, the study on the actor training utilizing ing "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" can be applied as an effective approach in the study of contemporary acting theory which intends to integrate inner impulse and external expression.

• (The) Research of the performance art and culture
• /
• no.23
• /
• pp.5-36
• /
• 2011

The purposes of this treatise are to compare theories of theatre in 'Kwandaega' with theories of theatre in 'Poongjahwajun', to recognize differences of theories between the former and the latter, and to find out the comparative characteristics of theories of Korean theatre. There are four differences between the former and the latter. These are as follows; Firstly, in the aspect of contents, the former is consisted of discussions about nature of theatre, discussions about acting, discussions about staging, and the latter is consisted of discussions about nature of theatre, discussions about acting, discussions about staging, discussions about origin, and discussions about dramaturgy. Secondly, in the aspect of nature, the nature of theatre in the former is recognition and practice as 'homo performans', the nature of theatre in the latter is realization of 'flower[花]'. Thirdly, in the aspect of acting, discussions about acting of the former are consisted of 'Sachae' theory'(Inmulchirae, Sasulchirae, Dekm, Nerumsae), discussions about acting of the latter are consisted of method of training per ages, method of training per role playings, trainings in everyday life. Fourthly, in the aspect of staging, the focus of staging in the former is realization of an endless series of changes[千變萬化], the focus of staging in the latter is realization of 'flower[花]'. There are four characteritics in the theories of Kwangdaega. These are as follows; Firstly, the contents of kwangdaega are consisted of discussions about nature of theatre, discussions about acting, discussions about staging. This theory is theory centered on actor/actress. Secondly, the nature of thestre in Kwangdaega is recognition and practice as 'homo performans', supporting of self-generational values, supporting of folk, new interpretation about secularism. Thirdly, the discussions about acting are consist of 'Sachae Theory'. Fourthly, the discussions about staging are consisted of realizations of an endless series of changes[千變萬化]

• The Journal of the Korea Contents Association
• /
• v.13 no.11
• /
• pp.106-118
• /
• 2013

I discussed how the Zen training could be used to previous acting training methods focused on the way draw efficiently subconsciousness in the process of the training of actors. It is believed that the practice of the Zen would contribute to the development of training subconsciousness of actors. I examined the validities of the Zen practices which could be helpful to young students and existing actors' training processes and started from the existing proven analyses of mental and psychological effects of it. It is certain that the practices of Zen is a new continent which has infinite possibilities of analyzing and studying in terms of thinking highly of the Zen and brain science together. If we would utilize the Zen efficiently in the course of training actors, we could achieve four elements: the first, a trigger to operate actors' subconsciousness, the second, establishing the presence of actors through the reinforcement of concentration, the third, overcoming any mental and psychological obstacles, and the fourth, the establishment of transformation skills through the combined use of left and right brains. Additionally, actors could have mental and psychological stability through the Zen practice in their daily lives. I believe that we could also find a unique Eastern actor training way through vigorous and practical following analyses and practices which are based on the Zen tradition for training actors' subconsciousness and unconsciousness.