• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.119-129
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• 2019

Traditional speech training in acting education focused on the technical aspects of expressing the lines such as finding long/short syllables in the word, exercising articulation of consonants and vowels, and practicing diction etc. There was a limit on this education to transform written words to vivid verbal words. The lines become live when the actor sees the concrete mental images hidden in the words while speaking the lines. I will bring the knowledge of cognitive brain science and NLP(Neural Linguistic Programming) to investigate what mental images are and why mental images are fundamental elements of thought and emotion. In addition to that, I will examine how the muscles of the body react in the process of visualization of delicate mental images (subordinate form) and how to use the responsive muscles to express speaking materials such as intensity, pause, pitch, intonation etc. Conclusion, I will enumerate the obstacles encountered by actors in the course of practicing mental images, and suggest 'activation of breathing' as a thesis of the follow-up paper to eliminate those obstacles. This process, I intend to make mental images to be the concrete and practical information that can be applied to speak the dialogue in the play.

• The Journal of the Korea Contents Association
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• v.15 no.5
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• pp.78-87
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• 2015

An actor should be well-trained at the natural breathing and phonation in order for a good diction. This thesis is focused on the breathing training method at the pre-phonation stage. The past research on the breathing and phonation training was generally for vocal music, yoga, or those which were approached by the medical view point, whereas there are not so many researches which are approached for an acting training even though it is quite important for actors. In addition, such researches have been given an overview of breathing, phonation and diction. Therefore, this thesis which is focused on the breathing training at the pre-phonation stage suggests the natural breathing training method through the imagination and image in the various situations which could exist in the drama.