• 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.

• YAKHAK HOEJI
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• v.33 no.1
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• pp.46-53
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• 1989

The extractable organic matter was extraced from airborne particulates collected in Seoul during 1986. It was fractionated to several fracrtions and mutagenicities of them were tested in Salmonella thyphimurium TA98 by Ames method. The neutral fraction showed the highest indirect acting mutagenicity while the highest direct acting mutagenicity was observed in the acidic fraction. Indirect acting mutagenicity of airborne particulate was attributed to its neutral fraction about 88% in average, to acidic about 10% in average and to basic fraction about 2% in average. Direct acting mutagenicity of airborne particulate was attributed to its neutral fraction about 70%, to acidic fraction about 29% and to basic fraction about 1%. Among five subfractions of neutral fraction, the proportion of mutagenicity of polynuclear aromatic hydrocarbon subfraction was 13.2% in indirect acting mutagenicity and 5.0% in direct acting mutagenicity.

• 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.

• The Journal of the Korea Contents Association
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• v.21 no.2
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• pp.718-726
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• 2021

A musical that combines singing, dancing, and acting is a popular musical drama created by the development of opera. These musicals are the cultural and industrial sectors that are commercially compatible with artistry and popularity. Musicals remind you of exciting and colorful live performances. This musical industry has been loved by the public as it was created not only on stage but also as a musical film. The film industry has been striving to express the musical's unique originality through film screens. In terms of acting, acting in musical films should be implemented to suit musical films. In order to do so, the characteristics of movie acting and musical acting will be understood at the same time and true musical film acting can be implemented on the screen when each genre is fused. In order to act as a musical film, it is necessary to understand the functional characteristics of each genre and apply the necessary functions on the spot.

• Bulletin of the Society of Naval Architects of Korea
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• v.21 no.3
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• pp.27-34
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• 1984

When a ship is travelling in following seas, the encounter frequency is reduced to be very low. In that case broaching phenomenon is most likely to occur, and it may be due to wave exciting forces acting on ships. It is thought that the wave exciting forces acting on ships in following seas almost consist of two components. One is hydrostatic force due to Froude-Krylov hypothesis, and the other is hydrodynamic lift force due to orbital motion of water particles below the wave surface. In the present paper, the emphasis is laid upon wave exciting sway force, yaw moment and roll moment acting on ships in following seas. The authers take the case that the component of ship speed in the direction of wave propagation is equal to the wave celerity, i.e., the encounter frequency is zero. Hydrostatic force components are calculated by line integral method on Lewis form plane, and hydrodynamic lift components are calculated by lifting surface theory. Furthermore captive model tests are carried out in regular following waves generated by means of a wave making board. Through the comparison between calculated and measured values, it is confirmed that the wave exciting forces acting on ships in following seas can be predicted in terms of present method to a certain extent.

• 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.

• Cartoon and Animation Studies
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• s.45
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• pp.177-195
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• 2016

This article analyzes Sergei Eisenstein's acting theory, which is famous for his Russian montage. According to the existing discussions, he avoids the psychological realism through the concept of cut acting. It is a method like montage from the viewpoint that the practice of the cut action is segmented into shots. While Vsevolod Pudovkin, who asserts a connection montage, is looking for performance to portray a gradual change of emotion adopted by Konstantin Stanislavsky's psychological realism, Eisenstein prefers the acting of Vsevolod Meyerhold's masks in the same manner as the collision montage. This article traces the viewpoints on acting and actor that Eisenstein posed throughout his montage theory. It focuses on Film Sense(1942) and Film Form(1949), which are a collection of articles written by Eisenstein. As a result of examining the domestic and foreign literatures centering on Korean and English, it is hard to find the discussions on the analysis of Eisenstein's acting theory. Almost all of them are concentrated in his montage, among which the mention of acting is extremely limited. The cut acting, the typage, the inner techniques and processes of actor that express and induce the living emotions, and the acting of the integrating into diversity as one of the inner language are useful concepts in the creation and case analysis of contemporary films. Especially, his acting theory can be applied in the creation process of cartoons, webtoons, and animations which can meet the most decisive and impressive montage technique of Eisenstein. It is also possible to find many related cases for the analysis. This is why I look back on Eisenstein's film acting theory, and the results of the discussion will be a sufficient foundation for the derivation of related research.

• The Journal of the Korea Contents Association
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• v.18 no.11
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• pp.205-212
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• 2018

Learning how to express and express the characteristics of acting expressions required by different media is easy to express the acting required in various mediums. The style of acting required by each medium is different depending on the characteristics of the medium. In particular, digital acting using computer graphics technology expresses actors as if they are in the space by imagining the imaginary space. Through computer graphics post-production, the actual space that will be visible on the final screen is completed and creates a story based on the actual situation. The role of digital actors in applying motion capture to movies is becoming increasingly important. Natural cross-reaction acting between live-action actors and digital character actors has become a trend in animation films where only digital actors appear. In animation films, a real actor plays a major role in connecting the characters of a digital actor. The core of a digital actor is the realization of a unique character performance. In the era of trans-media, the importance of digital acting is increasing day by day.

• Journal of the Society of Naval Architects of Korea
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• v.46 no.6
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• pp.688-698
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• 2009

In this paper, the steady lift force acting on a slender body moving beneath regular wave systems of arbitrary wavelengths and directions of propagation is considered. The momentum conservation theorem and the strip method are used to obtain the hydrodynamic forces acting on the body and affecting its motions on the assumption that the body is slender. In order to obtain the vertical steady force acting on it, or the free surface suction force, the second-order hydrodynamic forces caused by mutual interactions between the components of the first-order hydrodynamic forces are averaged over time. The validity of the method is tested by comparison of the calculated results with experimental data and found to be satisfactory. Through some parametric calculations performed for a typical model, some useful results are obtained as to the depth of submergence of the body, wavelengths, directions, etc.

• Proceedings of the Korean Society of Tribologists and Lubrication Engineers Conference
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• 2001.11a
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• pp.151-158
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• 2001

This paper presents a method for evaluating the lubrication characteristics between the plunger and cylinder in a radial type plunger pump. A numerical analysis is carried out in order to obtain the pressure distribution and acting forces between the plunger and cylinder. The pressure distribution is also measured experimentally by using pressure transducer through the cam type test machine. The experimental pressure distribution result is compared with the numerical result which is estimated by the computer simulation. In conclusion, the acting forces to the plunger are expressed for the operating conditions such as clearance, supply pressure, rotation speed and viscosity of oil.