• The Journal of the Korea Contents Association
• /
• v.10 no.9
• /
• pp.155-175
• /
• 2010

The purpose of this thesis is to introduce the alternative method of the new training program for film acting and directing. Recently in Korea, acting in movies has become a trend and broadcasting still depicts reality. But men of the theater is usually privileged getting the most acting education offered by the theater training program. They also is hardly teach about acting's directing for film directors. So I thought of establishing a new training program for film acting and acting's directing. I made two short films , that I had practical training program for film acting as practical text. This program applied partially 'Atude' that Stanislavsky devised for theater acting practice, and referred to 'Method Acting System' that Lee Strasberg made for film acting at the Actors Studio. Another main point of this program is camera use. That training program can be attended not only by actors but also by director and film staff. Through this thesis, I wish to prove my new training program for film acting and acting directing. The focus of this training is to target a better execution according to the group you belong to whether amateur group, associate professionals, professional actors.

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

• International Journal of Advanced Culture Technology
• /
• v.10 no.2
• /
• pp.148-153
• /
• 2022

This thesis investigates the meaning of a performer's energy taking into an account of the full bodily engagement as the flow of energy and/or psychophysical readiness focusing specifically on the significance of qualitative bodily transformation. In this contemporary era, the dominance of performer training and its approaches to acting/training has very frequently meant that how to play a character in a textual based approach by emphasizing on interpreting and impersonating the role as real as possible. In this sense, as a performer trainer, from my observation and research findings shows that it is common for the term energy is not to be motivated by what a performer's body needs within a specific moment in specific performance which they are working on. To address the problematic issues, this thesis begins by interrogating the practical meaning of transformation with addressing the principle and process of movement by means of the flow of energy on stage. For a performer, inhabiting/integrating his/her body and mind as oneness and/or unity means s/he sincerely encounter, confront, and therefore listen to his/her body in here and now. Because since the performer's physical appearance completely defined his/her psychological state, no one can play either the past or the future in the moment. In this manner, an appropriate use of energy synonymous with the flow of energy correspondence with the given time and space in which the performer's body informs and initiates movement as necessary action. To be precise, the performer's bodily movement either visible or invisible in a sense of training and rehearsal is perceived as attaining or achieving psychophysical involvement as the full body engagement which enable to make the event happen in the right moment. Here, this thesis argues that the significance of a performer's inner intensity reminds us of the necessity of qualitative transformation on which the performer could discover his/her own mode of awareness as well as a way his/her body function in the given circumstance. From this point of view, this research finding would advocates that the performer's body maintains in the field of energy flow where his/her conscious effort and/or mindfulness disappear. The performer's movement is a manifestation of the whole bodily engagement by means of being as real in that moment rather than representing reality.