뮤지컬 연기자 훈련의 접근 방법 연구 -서울시 뮤지컬 단 훈련 과정을 중심으로- (Research on the approaching method towards the musical performer training -The Seoul City Musical Theater, centered on the training process-)

서지정보

· 발행기관 : 한국연극교육학회
· 수록지 정보 : 연극교육연구 / 16권 / 97 ~ 165페이지
· 저자명 : 박선옥

초록

The musical performers learn 'artistic skills' and agonize over the 'artistic level of execution' in order to present what they want to express through the execution of the role in the works. Artistic skills is the ability to make the expression possible and what make this possible is the 'function reinforcing training'.
I ,the researcher, divide the training into two types. 'The primary training' is the one that the performers should perform before beginning their work and 'secondary training' is for the performers to aim at the 'creative result' when facing the work. In primary training, the performers should drill the 'artistic skill' and in the secondary training, the performers should try to accomplish the complete artistic execution. The secondary training is optional training that can be varied in the contents and characteristics according to the works, the analysis of the work, and the direction of the interpretation. The artistic skills in the primary training can be learned through the function reinforcing training in regards to the 'delivery'.
The scope of the research is up to the process for the approaching method for the 'primary training'. In an effort for this, I, the researcher, give an example of training process which has been carried out during the period of training project for the members in 'Seoul City Musical Theater' from Seoul City Musical 2009 where I belong.
I, the researcher, has agonized over the more systematic and the effective training methods which are appropriate for the musical performers through my experiences in the performances and the lecturing. I, the researcher, view that the 'problem of the delivery' is the most critical when applying the experienced training contents to reality. I thought that the reason why the contents is not properly delivered is due to the functional faults of the performers and problems of the approach to the training for the function improvement. I ,therefore, suggest the more reasonable and effective training method in order to overcome the functional fault of the delivery through the 'research on the approaching method of the musical performers training'.
In fact many performers have experienced poor performance result in spite of large quantity of training. The performers of Seoul Musical Theater, the professional organization, was not an exception. Despite of various training and practices in the middle of busy schedule, they failed to accomplish satisfactory results in regards to the delivery, especially the delivery of the lines and the lyrics. The delivery of the performers has been left to everybody as tasks. When the delivery is problem, it will inevitably deteriorate the level of artistic execution.
The stage language (lines, lyrics) is the basic information medium for the communication with the audience. The 'language' is kinetic energy and is expressed though emotion, image, breathing and energy, resonance, vocalization, pronunciation, rhythm, tempo and pitch, and tones. The performers should technically manage all these in one. I, the researcher, know that the reason lies here. It is the 'technical fault' that can not be operated as one. The performer operate 'the body and the sound' with controls in mobilizing all the artistic skills until the intention of the performers is fully delivered to the audience. Many methods related to training has been suggested and implemented in the academia and in the real works. The works and the training according to the roles are becoming more diversified. But, how the performers themselves will accommodate and apply the diverse contents of the training at this point? What is the effective method for the approach towards the training and the exercise? We have to agonize more over these questions. As a result, I , the researcher, recognize that there is a need for the research of the ability improvement with which the performer themselves should understand, master, and operate as one the organic relations of all the conditions which should be operated in one. Fortunately, the objective of training of Seoul City Musical Theater 2009 is the same as the objective of research on the approach method of training for the purpose of improvement against the problems in training which I have experienced so far. As for the same reason, I give an example of the training process of Seoul City Musical theater in terms of training method.
The basis objective of trainers for the improvement through training is to realize that the body, sound and the language are organically operated during the application of exercise of the real works. The trainers made the common objective as 'Back to the Basic' in terms of methodical aspect throughout the training progression. Three trainers, freed from the existing methods, found and shared the common the denominator in the wide category ie. musical, and attended all the programs in order to suggest the area shared as the direction of training. The progression is made in the following order of 'Control the body with breath(acting) → 'Aware the breath and stretch, Work out ones muscles(dancing) → 'Feel the vibration of the body(resonance) through breathing and relaxing the neck(music) without interval. The order previously performed is immediately succeeded by the next order in the same context which is related to the previous context. The method like this is never tried before in the musical theater.
I will try the summarize several methods of access to the training suggested by the trainers regarding the delivery, For the purpose of making the physical condition for the performers, they suggested the method that how the feeling of each muscle interacting on the basis of each different area while the operation of motion based on 'hup(inhale)' and ‘su-(exhale)', can be obtained. And at the same time, they enable the performers , themselves, aware the feeling of the muscle in operation in relation to vocalization. They also provide the time to the performers for them to focus on seeking the rhythm of the body and the mind through the progression with the awareness of the concepts without clinging to the orders or the quantity of the training. While the motion is progressing, they do not let the connection between the 'hup' and 'su' break and let the performers feel that the muscle which moves in the exercise for the abdominal muscle is the ones that actually moves when vocalizing, dancing and moving through checking the muscle parts where the strength is applied when working out ones' muscles. Immediately after the relaxation of the body through breathing, they went into the process of the relaxation of the neck. They became aware that the operation of the breathing when in the relaxation of the neck is the same operation of the breathing when in the relaxation of the body. As for the approaching method towards the musical training, they studied many musical styles and also have the time to share the change of singing styles through the appreciation of the works. Through diverse rhythm training, it is stressed that the rhythm formed based on the dynamics of the sound can make the delivery easy. They paralleled 'percussion training' in a extensive of way of rhythm training.
I, the researcher, implemented questionnaire survey of the members of the Seoul City Musical Theater who diligently attended the training both the first half and the second half of the year and draw the conclusion of the research through the statistical analysis of the survey report. This was aimed to consider whether I can suggest that the approaching method to training suggested by the trainers can be suggested as resonable and effective training method. The contents of the questionnaire is, in relation with the access method to the training suggested by the trainers, about the questions asking the performers' attitudes and the results of the training. Through the analysis of the relationships between the characteristics of the performers(sex, age, career), attitudes(minds, physical training, breathing, vocalization, singing style) and achievements(minds, physical training, breathing, vocalization, singing style), it is revealed that the performers' attitudes directly affected the performers' achievement whileas the performers' characteristics does not directly affected the performers' achievement. The approaching method to the training for the factors of minds, physical training, breathing, vocalization and singing style ,included in the performers' attitudes, is shown to be positive in terms of the achievement. The training process of 2009, Seoul City Musical Theater can be suggested as an example of the approaching method towards the musical performers training.
I am sure that this research, based on the site experiences, is the reference material which can be suggested as a way of aiming the improved approaching method towards the musical performers training. I, the researcher will continue to research on the approaching method towards the more improved and reinforced training as for the 'research on the approaching method towards the musical performers training'.

영어초록

The musical performers learn 'artistic skills' and agonize over the 'artistic level of execution' in order to present what they want to express through the execution of the role in the works. Artistic skills is the ability to make the expression possible and what make this possible is the 'function reinforcing training'.
I ,the researcher, divide the training into two types. 'The primary training' is the one that the performers should perform before beginning their work and 'secondary training' is for the performers to aim at the 'creative result' when facing the work. In primary training, the performers should drill the 'artistic skill' and in the secondary training, the performers should try to accomplish the complete artistic execution. The secondary training is optional training that can be varied in the contents and characteristics according to the works, the analysis of the work, and the direction of the interpretation. The artistic skills in the primary training can be learned through the function reinforcing training in regards to the 'delivery'.
The scope of the research is up to the process for the approaching method for the 'primary training'. In an effort for this, I, the researcher, give an example of training process which has been carried out during the period of training project for the members in 'Seoul City Musical Theater' from Seoul City Musical 2009 where I belong.
I, the researcher, has agonized over the more systematic and the effective training methods which are appropriate for the musical performers through my experiences in the performances and the lecturing. I, the researcher, view that the 'problem of the delivery' is the most critical when applying the experienced training contents to reality. I thought that the reason why the contents is not properly delivered is due to the functional faults of the performers and problems of the approach to the training for the function improvement. I ,therefore, suggest the more reasonable and effective training method in order to overcome the functional fault of the delivery through the 'research on the approaching method of the musical performers training'.
In fact many performers have experienced poor performance result in spite of large quantity of training. The performers of Seoul Musical Theater, the professional organization, was not an exception. Despite of various training and practices in the middle of busy schedule, they failed to accomplish satisfactory results in regards to the delivery, especially the delivery of the lines and the lyrics. The delivery of the performers has been left to everybody as tasks. When the delivery is problem, it will inevitably deteriorate the level of artistic execution.
The stage language (lines, lyrics) is the basic information medium for the communication with the audience. The 'language' is kinetic energy and is expressed though emotion, image, breathing and energy, resonance, vocalization, pronunciation, rhythm, tempo and pitch, and tones. The performers should technically manage all these in one. I, the researcher, know that the reason lies here. It is the 'technical fault' that can not be operated as one. The performer operate 'the body and the sound' with controls in mobilizing all the artistic skills until the intention of the performers is fully delivered to the audience. Many methods related to training has been suggested and implemented in the academia and in the real works. The works and the training according to the roles are becoming more diversified. But, how the performers themselves will accommodate and apply the diverse contents of the training at this point? What is the effective method for the approach towards the training and the exercise? We have to agonize more over these questions. As a result, I , the researcher, recognize that there is a need for the research of the ability improvement with which the performer themselves should understand, master, and operate as one the organic relations of all the conditions which should be operated in one. Fortunately, the objective of training of Seoul City Musical Theater 2009 is the same as the objective of research on the approach method of training for the purpose of improvement against the problems in training which I have experienced so far. As for the same reason, I give an example of the training process of Seoul City Musical theater in terms of training method.
The basis objective of trainers for the improvement through training is to realize that the body, sound and the language are organically operated during the application of exercise of the real works. The trainers made the common objective as 'Back to the Basic' in terms of methodical aspect throughout the training progression. Three trainers, freed from the existing methods, found and shared the common the denominator in the wide category ie. musical, and attended all the programs in order to suggest the area shared as the direction of training. The progression is made in the following order of 'Control the body with breath(acting) → 'Aware the breath and stretch, Work out ones muscles(dancing) → 'Feel the vibration of the body(resonance) through breathing and relaxing the neck(music) without interval. The order previously performed is immediately succeeded by the next order in the same context which is related to the previous context. The method like this is never tried before in the musical theater.
I will try the summarize several methods of access to the training suggested by the trainers regarding the delivery, For the purpose of making the physical condition for the performers, they suggested the method that how the feeling of each muscle interacting on the basis of each different area while the operation of motion based on 'hup(inhale)' and ‘su-(exhale)', can be obtained. And at the same time, they enable the performers , themselves, aware the feeling of the muscle in operation in relation to vocalization. They also provide the time to the performers for them to focus on seeking the rhythm of the body and the mind through the progression with the awareness of the concepts without clinging to the orders or the quantity of the training. While the motion is progressing, they do not let the connection between the 'hup' and 'su' break and let the performers feel that the muscle which moves in the exercise for the abdominal muscle is the ones that actually moves when vocalizing, dancing and moving through checking the muscle parts where the strength is applied when working out ones' muscles. Immediately after the relaxation of the body through breathing, they went into the process of the relaxation of the neck. They became aware that the operation of the breathing when in the relaxation of the neck is the same operation of the breathing when in the relaxation of the body. As for the approaching method towards the musical training, they studied many musical styles and also have the time to share the change of singing styles through the appreciation of the works. Through diverse rhythm training, it is stressed that the rhythm formed based on the dynamics of the sound can make the delivery easy. They paralleled 'percussion training' in a extensive of way of rhythm training.
I, the researcher, implemented questionnaire survey of the members of the Seoul City Musical Theater who diligently attended the training both the first half and the second half of the year and draw the conclusion of the research through the statistical analysis of the survey report. This was aimed to consider whether I can suggest that the approaching method to training suggested by the trainers can be suggested as resonable and effective training method. The contents of the questionnaire is, in relation with the access method to the training suggested by the trainers, about the questions asking the performers' attitudes and the results of the training. Through the analysis of the relationships between the characteristics of the performers(sex, age, career), attitudes(minds, physical training, breathing, vocalization, singing style) and achievements(minds, physical training, breathing, vocalization, singing style), it is revealed that the performers' attitudes directly affected the performers' achievement whileas the performers' characteristics does not directly affected the performers' achievement. The approaching method to the training for the factors of minds, physical training, breathing, vocalization and singing style ,included in the performers' attitudes, is shown to be positive in terms of the achievement. The training process of 2009, Seoul City Musical Theater can be suggested as an example of the approaching method towards the musical performers training.
I am sure that this research, based on the site experiences, is the reference material which can be suggested as a way of aiming the improved approaching method towards the musical performers training. I, the researcher will continue to research on the approaching method towards the more improved and reinforced training as for the 'research on the approaching method towards the musical performers training'.

참고자료

· 없음