스타니슬라브스키 이전의 19세기 러시아 연기 담론 : 카라티긴, 모찰로프,

서지정보

· 발행기관 : 한국문화예술교육학회
· 수록지 정보 : 모드니 예술 / 3호
· 저자명 : 오세준

목차

Ⅰ. Introduction
Ⅱ. Foreign Influence on Russian Acting
Ⅲ. Karatygin and Mochalov: Exteriority and Interiority
Ⅳ. Shchepkin: Realization of Naturalness and Discipline
Ⅴ. Conclustion

초록

러시아의 연기 담론은 19세기에 바실리 안드레예비치 카라티긴(1802-1853)과 파울 스테파노비치 모찰로프(1800-1848)를 중심으로 하여 형성되기 시작하였다. 그들의 예술작업 속에서 카라티긴은 연기의 외적 측면의 구현에만 주로 자신의 노력을 쏟았으며 모찰로프는 오직 자기 배역의 내적 심리를 표현하는 데에만 힘을 기울였다. 이 두 배우의 장점들은 오직 연기라는 예술의 제한되고 서로 상반된 어떤 측면들에만 국한되었으므로, 훈련과 영감 중 어떤 것이 연기 예술의 본질인가에 대한 논쟁을 불러일으켰다. 카라티긴과 모찰로프가 보여주었던 예술적 장점들은, 콘스탄틴 스타니슬라브스키(1863-1938)가 러시아 연극의 입법자라고 불렀던 미하일 세묘노비치

영어초록

This article intends to address some of the representative pre-Stanislavskian discourses which existed in Russia concerning its theatre and acting. The Stanislavsky System is a product of the tradition of Russian theatre rather than a totally new invention by Constantin Stanislavsky (1863-1938). However, while Stanislavsky's artistic ideals and his System are still considered important and studied by the people in theatrical arts, the previous discourses about acting which influenced the Stanislavsky System are rather neglected. The ignorance of the discourses to which the foundation of the Stanislavsky System was indebted to can cause not only the misconception that the identity of the system is something separated from other theatrical legacies but also a rigid or prejudiced definition of the suystem when one questions what the Stanislavsky System is.
In order to well illuminate the identity of the Stanislavsky System as a principle for good acting, it is necessary to understand what efforts and discussions prepared for the birth of the system. Understanding by what tradition it was formed can make us avoid any dogmatic approaches to it and use it as a foothold for new theatrical discourses in right ways.
With this purpose, I will focus primarily on the discourses produced by the three actors of the nineteenth century, Vasily Andreyevich Karatygin (1802-1853), Paul Stepanovich Mochalov (1800- 1848), and Michael Semyonovich Shchepkin (1788-1863). Through them, I am going to examine the major aspects of nineteenth century conversations on Russian acting which influenced the development of Stanislavsky’s artistic theory.
In the discussions on Karatygin, Mochalov and Shchepkin, the foreshadowing elements of Stanislavsky’s systematical theorization are found. Karatygin and Mochalov produced the first remarkable discourses about native Russian acting by their acting methods which were contrasting to each other. Karatygin approached his role primarily from the outer aspects rather than psychology of character. On the other hand, Mochalov concentrated his effort on the inner psychology of his role while neglecting any exterior technique. An effort to combine these two actors’ merits is found in Shchepkin. Throughout his theory and practice, Shchepkin pursued naturalness in acting and an earnest attitude toward art. In addition, he developed them into the tradition of the Maly Theatre in Moscow which influenced Stanislavsky.
On the foundation of the previous discourses about acting, Stanislavsky formed his famous “system” in which he realized consistent creative state, naturalness, and discipline in the actor’s work. Stanislavsky’s system, therefore, is not a totally new invention that broke from the past but is located in certain tradition of the Russian theatre.

참고자료

· 없음