• 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.

• Journal of Korean Theatre Studies Association
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• no.40
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• pp.345-400
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• 2010

Konstantin S. Stanislawski(1863-1938) is one of the great acting-teachers and directors. Especially his 'System' influences this day like his period so many actors and directors in the world. In Korea, Stanislawski was introduced at first in 1920's by Kim, Woojin, dramatist. After that time, his system was influenced fast everyone in the korean drama world. As a result, so many translations of his books and researches of his system are done until nowadays, but it is not perfect for the correct understanding of Stanislawski and his system. It seems to be several causes in this misunderstanding. And the purpose of this thesis is at first to observe historically the results of researches and translations on Stanislawski and his system in Korea and then to bring it in order according to characteristics. In this thesis are the process of reception observed dividing 4 periods. The first period is from the beginning to the liberation in 1945. The second is to 1980's and the next is to the year 2000. And the final period is from that time to the present time. As a result are several characteristics found as followings: 1) translations of Stanislawski's first book like other books, for example, Building a Character and Creating a Role, an Actor Prepares, are fast all secondhand translations, that means, man translated it not from russian direct but japanese or english. It caused man to misusing of terms and then misunderstanding on the system. 2) the researches on Stanislawski in are fast all concentrated on the book, an Actor Prepares, so this leads man to regard it as his whole acting system. On the other hand, thesisses which deal with his last and final acting technique, "the Method of the physical Action" are relatively not so much. As though man knows the last, man used to think that the system is developed systematically from the psychological technique to the physical action or the method of the physical action is only the way to understand of stanislawski's acting method. The psychological method and the physical are not the divided, different acting technique, but pairs which are applied to different objects, that is, the actor himself and the role in texts. 3) the political aspects are not considered especially under the situation of Stalin's social realism. This lack of the political context having relation with the system acts as a obstacle upon understanding the correct, whole his system. But so many thesises on this theme in other countries are so vivacious. For example, man can find subjects like "Stanislawski and Meyerhold", "means of Stanislawski's method for theatres in the social context". There are also many interesting Questions related to the physical action. That is, is the physical action the final acting technique or the materialistic dialectical device to survive under the Stalin's rule? Is there some interrelations between stanislawski's physical action and Meyerhold's biomechanics? In conclusion, the researches on Stanislwski and his system are not enough to understand correctly and overcome the system. We have to start the research again at least from the direct translation his books written russian in order to apply it in a new times.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.307-322
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• 2020

The acting of physical action of the director Kang Yang Won's plays is mostly simple and repetitive. This acting induces the audience to sensuous perception and certain corporal emotions. In addition to semiotic meaning of dialogue a stimulus is given directly to sense of the audience. Therefore, the audience participate in creating a performative space with assistance of atmosphere. So, the feedback-loop of autopoiesis is made and the emergence of meaning is experienced due to felt perception. This emergent meaning springs unexpectedly by imagination, remembrance, and association etc. and is not produced on purpose. In addition, the audience participates in the performance together by the intersection of the perception for representation and perception for presence, and is especially affected by the presence of acting of physical action. In this paper, the study of four major performances of the theatre troupe Dong performed since the 2010s confirmed not only the individuality of each performance, but also the commonality that encompasses the entire performances. This led to discovering the discrimination power of the aesthetics of theater of the director Kang Yang Won and the theatre troupe Dong.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.18 no.3
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• pp.749-753
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• 2014

The purpose of this study analyzes the basic elements of film acting based on Stanislavsky Circles of Attention. This research also demonstrates the basic elements on how to become a good film actor. I attempt to interpret Stanislavsky Circles of Attention, in order to adapt the size of camera shots and the location of microphones. This Circles of Attention is an effective method utilized for actors to help them understand and be absorbed in the work of art both in film and stage. It is useful for building a character in realism drama as well as in film. I believe Stanislavsky Circles of Attention is certainly the most advanced acting style in film because it proposes the importance of physical action for actors.

• Wind and Structures
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• v.17 no.6
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• pp.629-646
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• 2013

One of the most common solutions adopted to reduce vibrations of skyscrapers due to wind or earthquake action is to add external damping devices to these structures, such as a TMD (Tuned Mass Damper) or TLCD (Tuned Liquid Column Damper). It is well known that a TLCD device introduces on the structure a nonlinear damping force whose effect decreases when the amplitude of its motion increases. The main objective of this paper is to describe a Hardware-in-the-Loop test able to validate the effectiveness of the TLCD by simulating the real behavior of a tower subjected to the combined action of wind and a TLCD, considering also the nonlinear effects associated with the damping device behavior. Within this test procedure a scaled TLCD physical model represents the hardware component while the building dynamics are reproduced using a numerical model based on a modal approach. Thanks to the Politecnico di Milano wind tunnel, wind forces acting on the building were calculated from the pressure distributions measured on a scale model. In addition, in the first part of the paper, a new method for evaluating the dissipating characteristics of a TLCD based on an energy approach is presented. This new methodology allows direct linking of the TLCD to be directly linked to the increased damping acting on the structure, facilitating the preliminary design of these devices.

• The Journal of the Korea Contents Association
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• v.14 no.11
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• pp.89-101
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• 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 Veterinary Clinics
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• v.28 no.1
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• pp.139-143
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• 2011

A Spitz (5-years old, castrated male) and a Maltese (9-years old, castrated male) were presented with weight loss, polyuria/polydipsia (PU/PD) and depression. Diabetic ketosis was diagnosed based on clinical signs, physical examinations and screening tests (CBC, serum chemistry and urinalysis). The dogs were treated with NPH initially. However, NPH was inadequate to control blood glucose level due to the short duration of the action (< 5 hours). Because of the poor glycemic control with NPH, the dogs showed diabetic complications including weight loss and cataract. After change to glargine, the duration of insulin action was extended up to 11 hours. As a result, there was significant improvement in clinical signs and serum fructosamine concentrations. This study suggests that glargine is useful as a long-acting insulin in dogs which have poor glycemic control due to the short duration of NPH.

• Journal of the Korean Physical Society
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• v.73 no.9
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• pp.1303-1309
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• 2018

In the present paper, we study the entropy analysis of boundary layer flow over a slender stretching sheet under the action of a non uniform magnetic field that is acting perpendicular to the flow direction. The effects of viscous dissipation and Joule heating are included in the energy equation. Using similarity transformation technique the momentum and thermal boundary layer equations to a system of nonlinear differential equations. Numerical solutions are obtained using the shooting and fourth-order Runge-Kutta method. The expressions for the entropy generation number and Bejan number are also obtained using a suggested similarity transformation. The main objective of this article is to investigate the effects of different governing parameters such as the magnetic parameter ($M^2$), Prandtl number (Pr), Eckert number (Ec), velocity index parameter (m), wall thickness parameter (${\alpha}$), temperature difference parameter (${\Omega}$), entropy generation number (Ns) and Bejan number (Be). All these effects are portrayed graphically and discussed in detail. The analysis reveals that entropy generation reduces with decreasing wall thickness parameter and increasing temperature difference between the stretching sheet and the fluid outside the boundary layer. The viscous and magnetic irreversibilities are dominant in the vicinity of the stretching surface.

• Journal of the Korean Society of Clothing and Textiles
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• v.17 no.3
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• pp.436-447
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• 1993

This study concerns the role of costume in Shakespearean tragedy from the viewpoint of the role theory. The term "role" has been used to represent the behavior expected of the occupant of a given position or status. A specific role can not be successfully performed without the aid of the Costumes. Costumes are adopted in relation with a specific role. The role of social status and position reflects sex, age, occupation, class, economic position of the characters. In his works, the crown and the mace represented not only the throne but also a previllege and supreme position. The sitution role of costume could be widely used for visualizing the psychological situation and external environments of the characters on the stage. The disguise role hided one's status, thereby makes possible acting others position. And the disguise role can bring about the change of status, age, sex, occupation, and atmosphere. The costume could be used as a voucher of love. The costume performed the role of the physical and psychic protection, and provided its wearer with consolation and peaceful mind. The costume reflected the custom of a society through its wearing condition and wearing configuration. The results obtained from this study can provide useful cues for understanding the role action in the social structure. This kind of understanding reveals the costume phenomena in real life, allows one to perform roles properly and efficiently, and opens our insight on the overall aspects of the costume culture.

• The Research Journal of the Costume Culture
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• v.7 no.5
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• pp.1-18
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• 1999

This study concerns the role of costume in Shakespeare\`s history plays from the viewpoint of the role theory. The term “role” has been used to represent the behavior expected of the occupant of a given position or status. A specific role can not be successfully performed without the aid of the costumes. Costumes are adopted in relation with a specific role. The term ‘role’ had been borrowed from the drama. The similarity between the role on the stage and the role of the social man had been recognized. The similarity between the role on the stage and the role of the social man had been recognized. The typical examples in which the costume help to make access to a specific role and can be effectively exploited for the performance of the role are manifested in the history plays of Shakespeare. Thus, our goal in this study is to analyze the role of costume which appears in Shakespeare\`s history plays from the viewpoint of the role theory. The role of social status and position reflects sex, age, occupation, class, economic position of the characters. In his works, the crown and the mace represented not only the throne but also a previllege and supreme position. The situation role of costume could be widely used for visualizing the psychological situation and external environments of the characters on the stage. The disguise role hided one\`s status, thereby makes possible acting other\`s position. The costume also could symbolize the social status, position, rank, occupation, and the situation, and functioned as a media fo delivering messages to others. The costume performed the role of the physical and psychic protection, and provided its wearer with consolation and peaceful mind. The costume reflected the custom of a society through its wearing configuration. The costume (or a uniform) adopted by a group notified the characteristics and the expectation of action of the group to others. The results obtained from this study can provide useful cues for understanding the role action in the social structure. This kind of understanding reveals the costume phenomena in real life, allows one to perform roles properly and efficiently, and opens our insight on the overall aspects of the costume culture.