• The Journal of the Korea Contents Association
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• v.15 no.7
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• pp.57-74
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• 2015

This paper will concentrates on martialarts acting system. I will sugest a kind of actor's training system for the safe method of action acting. In this study I solve the following problems. First, what is main factors to interfere with performer to act and how do they get rid of factors. Second, what is very economic and effective challenge to develope the new acting system for action acting performers. For this discussion I studied four parts. The first, I gives purpose and direction of the safe for martialarts actor. The second, I traces the development of contemporary idea of acting such as Stanislavsky and Meyerhold. The third I introduces Korean martialarts training system. The last I conclude which refer to effective action acting by result of training 'Korean traditional martialarts acting system'.

• The Journal of the Korea Contents Association
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• v.16 no.7
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• pp.609-621
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• 2016

A close-up shot, capturing all the fine details of an actor's face by filling up the frame, expresses an actor's performance more realistically than a stage where a living actor performs on. This is because a close-up generates an impact with its specific images and meanings seizing the attention of the audience and conjures up a psychological effect as if an actor's face is directly communicating with the audience at a minimum distance. Therefore, this study analyzed the film to examine the photographic effect and acting effect of close-up shots and recommend the need for acting training thereof. The film was selected since Song Kang-ho, to add more realism to his character acted going back and forth 20 years of age with a special makeup on face, his facial expressions, gestures, props in close-up successfully helped deliver the actor's performance by revealing the character's personality and emotions of the film, and generated an array of linguistic, visual and emotional meanings which are the key to film acting. This study is expected to contribute to helping actors to learn about the effect of close-ups and the key to film acting and find effective ways to express themselves in front of the camera.

• 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.

• The Journal of the Korea Contents Association
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• v.9 no.12
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• pp.181-192
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• 2009

The purpose of this research is to investigate appropriate usage of pansori's method of breathing, sound making, and resonance in order to develop actor's aesthetic voice. Today's theatre no longer see inter-cultural approach as new or experimental, but see it as a part of global current. Actors are required to integrate some global-ness into their acting. It's not enough, however, for actors to equip some cosmopolitan sensibility. More important thing is that they should be able to integrate one's own culture and aesthetic into their performance. Only after acquiring one's own cultural identity, it is possible to step into inter-cultural work. It is fundamental, therefore, for actors to assimilate traditional movement and aesthetic voice. It's been known that traditional Korean voice traits are well preserved in Pansori. In this paper, based upon well-known theories and practices of western voice training, pansori's principles and practices are utilized to bring a new aesthetic voice.

• The Journal of the Korea Contents Association
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• v.9 no.10
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• pp.168-175
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• 2009

Stanislavsky's acting system is based on the sensory memory of an incident that an actor has actually experienced, but Michael Chekhov insisted that in relation to the acting technique of actors, they should find the virtual and unreal external stimuli caused by emotion and imagination irrespective of their personal experience. As such, Stanislavsky's acting system and Michael Chekhov's acting technique are very different in terms of the acting method used. In actual acting, however, the acting system and the acting technique should have a close relationship. Any acting performed by an actor cannot be totally psychological or physical because the body and the mind cannot be separated. It is for this reason that all kinds of training should be both psychological and physical training and should not be conducted only mechanically. Acting is the ability of actors to imagine the virtual or fictitious reality and to express their indignation ability onstage. As actors stimulate and train their own fantasy and imagination, they can greatly improve their ability to embody or express the inner world of the characters they are portraying in a play.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.20 no.1
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• pp.171-176
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• 2020

Reinforcement learning is a well-known method for training an artificial software agent for a video game. Even though many reinforcement learning algorithms have been proposed, their performance was varies depending on an application area. This paper compares the performance of the algorithms when we train our reinforcement learning agent for a 2D racing game. We defined performance metrics to analyze the results and plotted them into various graphs. As a result, we found ACER (Actor Critic with Experience Replay) achieved the best rewards than other algorithms. There was 157% gap between ACER and the worst algorithm.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.108-116
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• 2013

Park Jung-hoon started his acting career in movie since undergraduate year at Chungang University, Drama and Cinema school, and till now he is a very active and nationally beloved actor in Korea. However, to this day there isn't any study about him, so this study might be the right time to take a look at his acting style again. This report will find and review his distinctive patterns in acting, and roughly assess the character expression from character, Dong-chul, in the movie, My Dear Desperado; which has been evaluated as the best movie to show the inner side of character. His acting pattern is segmented by 3 parts; Park Jung-hoon style comical acting, expression of macho side of masculinity, and subtle inner emotion expression acting. Then his acting technique is analyzed from character Dong-chul in the movie, My Dear Desperado, which he acted out change in character from low-class nonsense gangster to a good-hearted man flawlessly. In addition this report will try to find his acting technique that made impossible distance between the characters possible. This study hopes to start and continue other studies that discuss many movie actors' and actresses' different character expression method and their training technique, also wish many actors and actresses could find helpful in their acting training.

• 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.4
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• pp.47-55
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• 2020

In this paper, acting of Meryl Streep, who was recognized as a method actor in Hollywood, was analyzed, and this paper tried to find out how Meryl Streep utilizes the American acting method to improve her acting skills. To do this, we first looked at the concepts and theories of the American acting method, and analyze the acting of Meryl Streep through three films: "Sophie's Choice", "The Devil Wears Prada", and "The Iron Lady". Analysis results show that Meryl Streep utilizes all of the American acting methods, such as "Emotional memory", "Imagination", "Given Circumstance", and "Repetition" without any particular distinction. Meryl Streep uses not a specific acting theory, but selects appropriate training for herself. According to the analysis of this paper, we can understand the acting method that Meryl Streep uses, and shows some way to develop the acting training. The result of this paper can be used to the acting training, and it will be an opportunity to follow in the footsteps of one of the greatest actress.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.155-164
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• 2019

This paper studies the possible ways to make the most of Namsadang Nori Deotboegi which has been designated as National Intangible Cultural Property No 3 as well as UNESCO World Intangible Cultural Heritage in training actors. Considering the fact that all six parts of a Namsadang performance were included as Important Intangible Cultural Properties, the historical and traditional value of the itinerant performance troupe is significant. The improvisatory characteristics of witty remarks, the 'Korenness' of the movement and breathing in Deotboegi dance, the spatial awareness realised through performing witty remarks with musician as well as the 'Koreaness' in the emotions conveyed are the particular values of Deotbeogi for training actors. The required ability to listen to the co-performer and not to anticipate what might be said next helps the performer do develop a strong focus to be able to stay in the moment. The heightened awareness of the body, and the ability to control it as well as the awareness of the space including the co-performers are helpful in the context of both traditional and contemporary performance.