홍해성 연기론 연구 －「무대예술과 배우」에 나타난 스타니슬랍스키의 영향관계 재론－ (A study upon Hong Haesung's Acting Theory －re-disputing upon existing studies; a studies focuing upon Stanislavsky's infulences reflected in his「Stage Art and Actor」－)

서지정보

· 발행기관 : 한국어문학회
· 수록지 정보 : 어문학 / 106호 / 313 ~ 341페이지
· 저자명 : 김철홍

초록

Hong Haesung’s acting theory is intensively condensed in his article「Stage Art and Actor」(『Dong-A Ilbo』1931.8.14~9.16). It is the most vast and accurate acting theory ever published in the era before Korean liberation. In general, the perspectives reflected upon existing studies of Hong Haesung’s acting theory could be divided into two approaches. First, it is made on the basic assumption that Hong Haesung was directly & indirectly influenced by Stanislavsky. The other is a that of in a recent research tendency which concludes Hong, Hae-sung’s acting theory is a mere transplantation of partial contents of acting methods imported to Japan by the West.
This study has a purpose to illuminate the significance of Hong Haesung’s acting theory on the basis of existing studies & researches that focus upon the influential relationship between Stanislavsky and Hong Haesung. For this purpose, I have tried to indicate problems reflected in formal researches & studies. Hong Haesung firmly maintains totally different acting perspective from that of Stanislavsky. Hong Haesung has pursued after ‘acting of re-presentation’ which is fundamentally different from Stanislavsky’s ‘acting of impersonation’(or ‘internalizing one’s character’). It was Cocqulin, an actor, who has most insisted on ‘re-presentational acting’. If one is aware of Cocqulin’s acting theory within the relationship with Denis Diderot, it is quite clear that the starting point of Hong Haesung’s acting theory does not begin with Stanislavsky.
He has worked as an actor in Sukiji small theatre as to obtain practical knowledges necessary for educating actors. And he has built up his own acting system by dissolving partial knowledges obtained from his abundant book readings to his own stage experience. At his time, most of theatre artists were either obsessed in merely introducing western theories or chasing after a vague dream of being stage artists to earn their living. In such an era, it was Hong Haesung who, on the base of his own acting experiences, has strived for endless researches and serious thoughts upon the art of acting; leaving the future theatre artists with his records and documents made through an actual practical experiences rather than from that of theories for theories’ sake.

영어초록

Hong Haesung’s acting theory is intensively condensed in his article「Stage Art and Actor」(『Dong-A Ilbo』1931.8.14~9.16). It is the most vast and accurate acting theory ever published in the era before Korean liberation. In general, the perspectives reflected upon existing studies of Hong Haesung’s acting theory could be divided into two approaches. First, it is made on the basic assumption that Hong Haesung was directly & indirectly influenced by Stanislavsky. The other is a that of in a recent research tendency which concludes Hong, Hae-sung’s acting theory is a mere transplantation of partial contents of acting methods imported to Japan by the West.
This study has a purpose to illuminate the significance of Hong Haesung’s acting theory on the basis of existing studies & researches that focus upon the influential relationship between Stanislavsky and Hong Haesung. For this purpose, I have tried to indicate problems reflected in formal researches & studies. Hong Haesung firmly maintains totally different acting perspective from that of Stanislavsky. Hong Haesung has pursued after ‘acting of re-presentation’ which is fundamentally different from Stanislavsky’s ‘acting of impersonation’(or ‘internalizing one’s character’). It was Cocqulin, an actor, who has most insisted on ‘re-presentational acting’. If one is aware of Cocqulin’s acting theory within the relationship with Denis Diderot, it is quite clear that the starting point of Hong Haesung’s acting theory does not begin with Stanislavsky.
He has worked as an actor in Sukiji small theatre as to obtain practical knowledges necessary for educating actors. And he has built up his own acting system by dissolving partial knowledges obtained from his abundant book readings to his own stage experience. At his time, most of theatre artists were either obsessed in merely introducing western theories or chasing after a vague dream of being stage artists to earn their living. In such an era, it was Hong Haesung who, on the base of his own acting experiences, has strived for endless researches and serious thoughts upon the art of acting; leaving the future theatre artists with his records and documents made through an actual practical experiences rather than from that of theories for theories’ sake.

참고자료

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