창조적 자감을 위한 시각적 상상력 훈련 방법 (A Method of Training Visualized Imagination for Creative Condition)

서지정보

· 발행기관 : 한국연극학회
· 수록지 정보 : 한국연극학 / 37호 / 281 ~ 316페이지
· 저자명 : 홍재범

초록

The study aims at offering the best-fit way to creatively sharpen the sense of concentration for the actor just before showing up on the stage--i.e. the imagination drilling by invoking the film strip via inner vision, which is widely applicable for developing the actor's theatrical sense of self. It is the negative tension or the rigidity that mostly hampers 'creative condition' by actors. The possible method to clear it up is to recall the sequence of their actions during performance--by projecting the events/moments of the play to their brain.
Such 'picturesque envisioning' relying on the 'inner eye' can be cultivated subject to the utilization of the text being categorized into two: The one relates training the actor, prior to linking to the text of play, who grasps a play's anatomy before memorizing lines. It is not so much difficult for imaginary actors to cognitively visualize contexts in the play. The other relates extending the scope by discovering the casts or distinct moments in their characters' lives as a whole. Though admitting that unmet level of narrative imagination could not produce sequential-but intermittent-panorama of appearances, it is, nevertheless, beneficial to the formation of creative condition.
To successfully embody the proposed way of training herein requires a few in-advance steps, which ranges from the most fundamental 'memories expressed as physical actions other than objects' and 'spatial reversal paint of relationship' to the text-based 'etude for actualizing the character'. All of them closely bridge with sensory actuation in addition to visualization during which there must coincide with 1) picture plotting, 2) narrative filling-up and 3) etude improvisation. Any of non-accomplishment among them leads to failure of creative condition through imagination. It is most desirable that, right before appearing on the stage, actors are capable, through etude, of visualizing literary images and rhythms which betray the actions of the scene. As those etudes serve as successive drafts for future performance, each actor must, at the point, drill himself/herself to see through the action and character in a form of panoramic pictures before standing in front of audience. The clearer visualization through repetitive training makes creative condition better activated for the actor.
In light of the fact that those who are in command of all of the aforesaid three elements from the beginning, it is required to apply them in a flexible manner to actors according to their individual characteristics in such a way of spreading one to the other to reach the target effectively.

영어초록

The study aims at offering the best-fit way to creatively sharpen the sense of concentration for the actor just before showing up on the stage--i.e. the imagination drilling by invoking the film strip via inner vision, which is widely applicable for developing the actor's theatrical sense of self. It is the negative tension or the rigidity that mostly hampers 'creative condition' by actors. The possible method to clear it up is to recall the sequence of their actions during performance--by projecting the events/moments of the play to their brain.
Such 'picturesque envisioning' relying on the 'inner eye' can be cultivated subject to the utilization of the text being categorized into two: The one relates training the actor, prior to linking to the text of play, who grasps a play's anatomy before memorizing lines. It is not so much difficult for imaginary actors to cognitively visualize contexts in the play. The other relates extending the scope by discovering the casts or distinct moments in their characters' lives as a whole. Though admitting that unmet level of narrative imagination could not produce sequential-but intermittent-panorama of appearances, it is, nevertheless, beneficial to the formation of creative condition.
To successfully embody the proposed way of training herein requires a few in-advance steps, which ranges from the most fundamental 'memories expressed as physical actions other than objects' and 'spatial reversal paint of relationship' to the text-based 'etude for actualizing the character'. All of them closely bridge with sensory actuation in addition to visualization during which there must coincide with 1) picture plotting, 2) narrative filling-up and 3) etude improvisation. Any of non-accomplishment among them leads to failure of creative condition through imagination. It is most desirable that, right before appearing on the stage, actors are capable, through etude, of visualizing literary images and rhythms which betray the actions of the scene. As those etudes serve as successive drafts for future performance, each actor must, at the point, drill himself/herself to see through the action and character in a form of panoramic pictures before standing in front of audience. The clearer visualization through repetitive training makes creative condition better activated for the actor.
In light of the fact that those who are in command of all of the aforesaid three elements from the beginning, it is required to apply them in a flexible manner to actors according to their individual characteristics in such a way of spreading one to the other to reach the target effectively.

참고자료

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