창조적 일류전의 공간, 판타스틱 혹은 드라마틱 리얼리즘의 경계지대-스타니슬랍스키의 비사실주의적 경향 연구- (Creative Illusion, fantastic or dramatic realistic place -Study of non-realistic trend of Stanislavsky-)

서지정보

· 발행기관 : 한국연극교육학회
· 수록지 정보 : 연극교육연구 / 23권 / 23호 / 51 ~ 82페이지
· 저자명 : 김태훈

초록

It is a widely known fact that Stanislavsky left a great influence to the change of all dramas and method acting of the world since the modern age. All the forms of the drama after 19th century started from Stanislavsky and every acting theory and training methods base on system theory of Stanislavsky. In domestic cases, Stanislavsky theory was accepted for the first time in 1920s through Japan and later accepted Stanislavsky’s practical method via U.S in 1970s. In 2000s, Korea accepted Stanislavsky theory and practical training method directly from the fatherland of Stanislavsky, Russia, utilized them and has reached today.
However, until now, in the theater fields all around the world including domestic, Stanislavsky studied the form of ‘realistic drama’ so there is a misunderstanding that his acting theory is limited to the realistic acting form.
Of course it is true that his research began at the end of Imperial Russia when there overflowed an exaggerated romanticism and aimed ‘realism’ as a new acting form. And for this, his acting peer, Nemiro´vich-Danchenko and dramatist, Anton Chekhov, largely influenced.
Nemiro´vich-Danchenko affected the study on acting theory and acting form of Stanislavsky with great impacts and Chekhov provided a basic reference for the completion of Russian legitimate realistic drama by offering Russian drama pieces of new forms to Stanislavsky.
However, in 1920s, realizing the limit of the realism format, Stanislavsky started to change the direction of his study from the unvarnished and reality reflective ‘Ordinary realism’ to ‘Dramatic realism’ which pursue more dramatic situation. In other word, he realized that the ordinary life where contingency exists is clearly different from the stage where only inevitabilities are gathered and along this reality, ‘Ordinary place’ is changed to ‘Creative place of illusion.’ Of course it was only possible with the influence of Stanislavsky’s student, Vakhtangov, who asserted Fantastic Realism. Moreover, this is due to the desire to see the creatively changed life at the esthetical viewpoint rather than unrevised life which he always watched in the surroundings.
Initiating from with Gordon Craig’s symbolic piece of <Hamlet> which was promoted to <Moscow Academic Art Theatre> and up to L'oiseau bleu at the end, Stanislavsky tried various non-realistic acting experiments and research about expression method of acting accordingly.
The author, through this thesis which studies about such non-realistic trend of Stanislavsky, investigated ultimately how this affected his acting system and acting theory, especially how this is connected to The Method of Physical Action which integrated all his studies at the his latter years.
Furthermore, it investigated Stanislavsky’s artistic life since his youth, adolescence and to middle age when he started drama activity in earnest by periods and analyzed what artistic change of thinking was brought and from what artistic influence came to. The analysis of artistic trend will be a good motivation to know about along what course his ‘system’ research is changed and next chapter can be opened fiducially with last circuit diagram which Stanislavsky turns on. His change process of artistic thinking follows a same orbit as the transition history of human’s civilization and can draw a cycle orbit of next period by the analysis of existing cycle of the circuit if there is no disagreement in logic appliacations.
Meaning to say, what Stanislavsky dreamed is an essential problem about how art of drama should exist with humankind as long as humankind exists, not in the frame of form of realism.

영어초록

It is a widely known fact that Stanislavsky left a great influence to the change of all dramas and method acting of the world since the modern age. All the forms of the drama after 19th century started from Stanislavsky and every acting theory and training methods base on system theory of Stanislavsky. In domestic cases, Stanislavsky theory was accepted for the first time in 1920s through Japan and later accepted Stanislavsky’s practical method via U.S in 1970s. In 2000s, Korea accepted Stanislavsky theory and practical training method directly from the fatherland of Stanislavsky, Russia, utilized them and has reached today.
However, until now, in the theater fields all around the world including domestic, Stanislavsky studied the form of ‘realistic drama’ so there is a misunderstanding that his acting theory is limited to the realistic acting form.
Of course it is true that his research began at the end of Imperial Russia when there overflowed an exaggerated romanticism and aimed ‘realism’ as a new acting form. And for this, his acting peer, Nemiro´vich-Danchenko and dramatist, Anton Chekhov, largely influenced.
Nemiro´vich-Danchenko affected the study on acting theory and acting form of Stanislavsky with great impacts and Chekhov provided a basic reference for the completion of Russian legitimate realistic drama by offering Russian drama pieces of new forms to Stanislavsky.
However, in 1920s, realizing the limit of the realism format, Stanislavsky started to change the direction of his study from the unvarnished and reality reflective ‘Ordinary realism’ to ‘Dramatic realism’ which pursue more dramatic situation. In other word, he realized that the ordinary life where contingency exists is clearly different from the stage where only inevitabilities are gathered and along this reality, ‘Ordinary place’ is changed to ‘Creative place of illusion.’ Of course it was only possible with the influence of Stanislavsky’s student, Vakhtangov, who asserted Fantastic Realism. Moreover, this is due to the desire to see the creatively changed life at the esthetical viewpoint rather than unrevised life which he always watched in the surroundings.
Initiating from with Gordon Craig’s symbolic piece of <Hamlet> which was promoted to <Moscow Academic Art Theatre> and up to L'oiseau bleu at the end, Stanislavsky tried various non-realistic acting experiments and research about expression method of acting accordingly.
The author, through this thesis which studies about such non-realistic trend of Stanislavsky, investigated ultimately how this affected his acting system and acting theory, especially how this is connected to The Method of Physical Action which integrated all his studies at the his latter years.
Furthermore, it investigated Stanislavsky’s artistic life since his youth, adolescence and to middle age when he started drama activity in earnest by periods and analyzed what artistic change of thinking was brought and from what artistic influence came to. The analysis of artistic trend will be a good motivation to know about along what course his ‘system’ research is changed and next chapter can be opened fiducially with last circuit diagram which Stanislavsky turns on. His change process of artistic thinking follows a same orbit as the transition history of human’s civilization and can draw a cycle orbit of next period by the analysis of existing cycle of the circuit if there is no disagreement in logic appliacations.
Meaning to say, what Stanislavsky dreamed is an essential problem about how art of drama should exist with humankind as long as humankind exists, not in the frame of form of realism.

참고자료

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