• International Journal of Advanced Culture Technology
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• v.9 no.1
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• pp.58-63
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• 2021

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.

• The Journal of the Korea Contents Association
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• v.21 no.12
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• pp.842-854
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• 2021

Performing industries in Korea and abroad have been attempting a wide range of artistic experiments utilizing online platforms ever since the Covid-19 pandemic. Accordingly, this study will shed light on the functional characteristics of Zoom, which was used as a creative tool for theater performances. At first, after examining theater performances presented in Korea and abroad using Zoom and their characteristics, the production stage of the Zoom play will be analyzed by dividing it into following stages; a research-based pre-production stage, a scene workshop stage that composes each scene based on the script, a recording stage filming each scene on Zoom, and Streaming stage for presenting the show. Furthermore, the actor's approaches to acting in this production process was presumed to be separation of gaze, re-recognition of space, utilization of expressive gestures, and reaction as an active action. As a result, it proposes the possibility of ongoing development of theatrical work using Zoom and the evolutionary aspect of actor's acting approaches in accordance with theatrical work via Zoom.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.117-130
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• 2020

The Golden Dragon is a work that reminds us of the tragic illusion of globalization through the story of Asian workers' lives in Berlin, a strange city. Also, the post-epic nature of the play requires the audience to see it in a new way, more different than before. In Korea, there are theoretical studies on the post-epic theatre, but there is little research on specific acting approaches based on practical production process. Therefore, I first analyze the post-epic characteristics of The Golden Dragon in order to present specific acting approaches. As a result, it would be confirmed that body-centered acting approaches were required in the post-epic theatre to play more different roles than in the realism play. Thus, Laban movement Analysis(LMA) of Rudolf von Laban is applied so that internal impulses could be naturally induced through the utilization of the body. Of the four categories of motion(BESS), Laban seeks to look at the body-centered acting approaches through the effort. Finally, it must be confirmed through the actual production process that Laban's theory of motion could be used as a body-centered acting approach to creating the role of post-epic theatre.

• Proceedings of the Korea Concrete Institute Conference
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• 2001.05a
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• pp.821-826
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• 2001

This paper presents four types of strut-tie model design approaches of structural concrete through the anchorage zone design of a post-tensioned concrete I-beam. The differences and distinctive feature of each approach in terms of structural type of selected strut-tie model, external force acting on strut-tie model, effective strength of concrete strut, and strut-tie model design procedure are analyzed and compared. The outcomes of present study enable structural designers to understand the merits and demerits of each strut-tie model design approach, and thus to conduct reasonable and accurate design of structural concrete.

• Journal of Ocean Engineering and Technology
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• v.15 no.4
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• pp.20-27
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• 2001

Recently numerical approaches for wave loads acting on the vertical caisson of breakwater, and resulting wave reflection and transmission coefficients have been performed. Although the numerical studies by Sulisz's(1997) and Kim et al.(2000) are suggested representatively, theoretical formulation for nonlinear wave pressure is not developed yet. And experimental results of Sulisz(1997) revealed that nonlinear uplift pressure on the caisson may be produced largely on the case of caisson founded on the high rubble mound. From the results of this study, the nonlinear theory for the uplift wave pressure acting on the caisson by applying boundary integral method of Green theorem is formulated, and also the characteristics of nonlinear uplift pressure and run-up height on the caisson are evaluated numerically, according to the variations of hydraulic properties of the rubble mound.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.131-138
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• 2019

In general, film acting refers to American method or Hollywood method. Hollywood method is a term to denominate collectively actors from Group Theatre of Lee Strasberg which accepted Russian Stanislavski's system as American acting. We can find out the origins of Korean acting in the attitude of actors who imitate Hollywood. Hollywood method, which seem to be more systematic and rational in the previous Sin-pa, has begun to be accepted in the fields of actors, directors, critics, and educators. The perception of Hollywood method in Korea is part of the search for the identity of Korean film acting. This article approaches from the perspective of four fields. First, it is Korean actors' perceptions about Hollywood methods. Second, I examine the attitude of the direction of staff and technical aesthetics regarding Hollywood method. Third, it is evaluation aspect in criticism area. Fourth, it is an aspect of education.

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

• International Journal of Advanced Culture Technology
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• v.11 no.3
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• pp.99-105
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• 2023

This thesis discusses a performer's unpredictability and immediacy as a prerequisite quality and/or ability to facilitate his/her professional identity as a doer on stage. To examine the key principles and approaches, this research focuses on addressing a specific aspect of the performer's transformative experience from those, directors, and practitioners' concepts that inform and enhance the performer's passive readiness on stage. To be precise, this research attempt to interrogate and articulate the place and role of a performer's internal readiness and/or that of inner looking. The performer's inner intensity as seed of action signifies that his/her body is being in a state of listening to every tiny moment with his/her heightened awareness which in turn lead the performer's body to meet the demands of theatre, the whole-body engagement. Here, this thesis argues that the key principles of acting/training underlies the importance of a performer's ethical attitude and at the same time his/her responsibility for what the performer's choices and experiences within the performative involvement, that is, a process of preparation, are not technical matter but rather, the concepts, and/or approaches from those theatre artists' practical assumptions highlight a process of thorough encountering and/or listening to his/her body. Inhabiting and/or obtaining the principles through the performer's body means being free from his/her unnecessary trait(s) which in turn initiate and then move the whole body according to what is happening in the series of moment(s) on stage. What is more, such an appropriate psychophysical order reminds us of the significance of the nature of human/performer's body, namely, to being in a state of one's 'own' body as oneness. From this perspective, this thesis further argues that the performer's body necessarily need to be affected and/or triggered in a sense of responding to the given circumstance where the performer is working on in the here and now.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.277-284
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• 2020

This thesis interrogates the term a performer's 'spontaneity' as the key principle to approach and enhance contemporary performer's training and acting. Drawing on a number of problematic issues, this thesis particularly examines the paradigm of the subtle bodily movement inform the experience of a performer's spontaneity as embodied and understood in approaching and adapting through text analysis and action. The in-depth process of the relationship between a performer's action and the transformative effects, is central to understanding and adapting the key principle of acting/training that a specific text would pursue through a specific performance by means of what a performer must do on stage. Following the discussion of acting in training and rehearsal, this thesis argues the necessity of an alternative way(s) and model of the performer's work via how the performer's action is sincerely emerged from the moment-by-moment rather than the performer anticipates what comes in the next and therefore pretend to do/be something/someone. Expanding upon the assumptions mentioned above, this thesis provides some pragmatic and descriptive work(s) from the practitioners' concepts and approaches that invites us to reconsider the nature of acting and its adaptability for contemporary performers.

• Journal of KSNVE
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• v.11 no.3
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• pp.428-436
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• 2001

The rotating inner cylinder executes a periodic translational motion in concentric annulus while the outer one is stationary. In the study of flow-induced vibrations and relaxed instabilities, it is of interest to evaluate the fluid-dynamic forces acting on the rotating inner cylinder. In the present work, the governing equations for the confined flow are expressed as Navier-Stokes equations, including the steady and unsteady terms. The fluid parameters for steady flow generated by the rotating cylinder are determined analytically while the unsteady ones by the oscillatory motion are evaluates by a numerical method based on the spectral collocation method. In order to validate the numerical approach, the numerical results are compared wish the analytical ones given by existing theories, for simple cases where the both approaches are applicable. Good agreement was found between the results. It is found the effects of the Reynolds number, defined by rotating velocity, on the fluid-dynamic forces are important for the case of relatively low oscillatory Reynolds number, defined by oscillatory frequency : j.e., in case of $Re_\omega\gg Re_S$.