• 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 Convergence on Culture Technology
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• v.8 no.3
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• pp.229-238
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• 2022

Through the converging concept of 'an actor doctor,' this paper deals with an actor and its double, the emotional care giver. In the first place, actor doctors have appeared in the medical scene as hospice volunteers. But, as a developing project, the concept of 'an actor doctor' leads to a professional emotional specialist who works at hospitals during the day and performing at the stage at night. In our contemporary culture, our emotional life is threatened by various social and environmental stimuli. The role of 'an emotional specialist' in our everyday life and hospitals is very essential to our healthy life. Against the backgrounds of the high emotional intelligence and the systemic training, actors are qualified to embody this social vision. From the perspectives of performance studies and cognitive studies, this paper tries scientific explanations of the role, the function, and the techniques of an actor doctor. By doing so, this paper seeks to build a scientific foundation for an actor doctor as an emotional specialist.

• International journal of advanced smart convergence
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• v.11 no.2
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• pp.135-141
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• 2022

This thesis examines a significant way to enhancing and improving the term/phenomenon of performer training system in contemporary Korean theatre. To articulate the matters, this research engages in discussing and criticizing those problematic issues that we, as an instructor/trainer, have faced with through the last decades in the field of performer training and education. Specifically, we concern with the necessity of an applicable and appropriate educational/training system where each student-actor would discover his/her own adaptability by evaluating what a specific method and approach is. This atmosphere accurately provided by an instructor/trainer can also facilitate and enhance the young students' potential possibilities and/or talent, that is, as we argue a way to accomplish each performer's true nature. To achieve the goals, we underlie the necessity of establishing and/or settling performer training program/course by means of an alternative path. The research finding shows that within the atmosphere each student could share then interrogate what a possible or ideal way is according to his/her comprehensive understandings with clearer purpose: what kind of performers would you produce, train, and/or educate.

• 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.17 no.12
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• pp.408-416
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• 2017

This researcher looked at the characteristics of "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques focused on body expressions and sought to utilize it as training method for modern actors. 'Body postponement as a symbol' is a key characteristic of "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques, and each facial expression, gesture, and movement performed by an actor has a specific meaning. Therefore, the study on "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" has been treated as a major study mainly in the non-realistic expression style or the body-centered acting theory. Therefore, a study on "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques was mainly dealt with as a major research subject in the nonrealistic expression style or body-centered acting theory. This study, on the other hand, emphasized the importance of research on the utilization plan of actor training, which can be usually used in realistic plays as well as non-realistic plays. According to psychologists such as Damasio and Eckman, internal impulses can also be triggered through expressions and actions associated with emotions. In addition, not only acting through the actor's inner impulse, but also expression of the actor's faithful external emotion can trigger the emotion of the audience. Such a case can be a psychological basis that "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques, which defines rasa and expresses it physically, can be used as a methodology to enhance inner truth. Therefore, the study on the actor training utilizing ing "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" can be applied as an effective approach in the study of contemporary acting theory which intends to integrate inner impulse and external expression.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.133-144
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• 2020

This study is a new proposal for the methods of actor training and role creation in the contemporary theater and an approach to the practical utilization of the performer, regarding the actor's 'presence' as the essence of living arts, a peculiarity of theater. As the method for this, this study sorts out Vakhangov and Mikhail Chekhov's elements of acting techniques and at the same time, allows an easier approach to the theoretical concept based on the performance records found in the developmental process. The magic realism and the technique of acting discussed in priority in this study emphasize the importance of the exploration and realization of artistic inspiration in everyday life, the actor's imagination and image, and unconsciousness as a method for creating new actors and diversifying their roles. When their common views are summed up, the goals to achieve include a study of a creative method in which outer form and inner truth are combined and the implementation of a new system for creating the individual actor's originality. This study would classify the similarities and differences found through this, reveal the limit of practical efficacy and propose it as a universal method for creating the roles, asking for the actor's voluntary training and active attitudes.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.77-90
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• 2020

Today, the transition to the era of "post-drama" brought a change in the position of text, which was considered the center of the play, and the expansion of the role of actors. After entering the post-drama era, the actor no longer transforms himself into "delivering" the fixed meaning of text, but "producing" the valid meaning of "now, here" meeting the audience. In other words, actors in the post-drama era have expanded their roles as "performers" who can become the subject of narratives themselves and create various theatrical languages. Despite the expansion of the actor's role, verbal-centered actor training through text, which still forms the basis of acting education, does not satisfy the newly changing contemporary theatricality and creates a gap between education and the field. Therefore, the researcher argued that non-verbal-centered acting education needs to be discussed, and highlighted the actors' physical training on the "empty" side. The researchers first compare and analyze the characteristics of modern theater people's training methods from an "empty" perspective. Based on this, researchers about the meaning and direction of the training "empty". Furthermore, the study concludes with an emphasis on the direction of acting education in the post-drama era, which is free from language that can respond to stimuli and interact freely.

• 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.