역할창조에 있어서 배우 상상력의 계발과 활용 (A Study on Actor’s Imagination Improvement and Role-Creation)

서지정보

· 발행기관 : 한국연극교육학회
· 수록지 정보 : 연극교육연구 / 24권 / 24호 / 63 ~ 87페이지
· 저자명 : 임유영

초록

This thesis tries to define the value of actor’s imagination improvement and to examine its training programs in detail. Perceiving a play as a communication with audience through images portraying human senses that a new acting technique should be worked out so that cliche´ acting method inherited from past old-fashioned banalities could be overcome. The answer should be found out not in logics of human psychology but deep in imagination of an actor, which would exist far beyond the play itself and life. Strasberg’s ‘affective memory’ is not value for building a characterization. Instead, extraordinary character interpretation based on actor’s imagination in order to develop comprehensive and practical acting technique. If an actor uses merely his personal experiences in playing a variety of roles on stage for a long time, he would fall in mannerism and conventional experience, his memories and imagination dried up and he would accordingly repeat to show himself. But imagination is very creative. Images created by ‘Imagination’ are not outcomes generated by actor’s memories.
The ultimate goal of valuable acting technique is to make actors that images created by ‘Imagination’ into their psychology. Also, by exploiting such images along with their psychology, they can establish qualities of characters, such as feelings, emotions, and will-impulse and radiate actions based on these qualities out of their bodies. In short, valuable actin technique based on ‘Imagination Improvement’ will provide a solution for the actor in the current theatre which requires infinite use of body and the active creation of characters, different from the traditional reproduction method.

영어초록

This thesis tries to define the value of actor’s imagination improvement and to examine its training programs in detail. Perceiving a play as a communication with audience through images portraying human senses that a new acting technique should be worked out so that cliche´ acting method inherited from past old-fashioned banalities could be overcome. The answer should be found out not in logics of human psychology but deep in imagination of an actor, which would exist far beyond the play itself and life. Strasberg’s ‘affective memory’ is not value for building a characterization. Instead, extraordinary character interpretation based on actor’s imagination in order to develop comprehensive and practical acting technique. If an actor uses merely his personal experiences in playing a variety of roles on stage for a long time, he would fall in mannerism and conventional experience, his memories and imagination dried up and he would accordingly repeat to show himself. But imagination is very creative. Images created by ‘Imagination’ are not outcomes generated by actor’s memories.
The ultimate goal of valuable acting technique is to make actors that images created by ‘Imagination’ into their psychology. Also, by exploiting such images along with their psychology, they can establish qualities of characters, such as feelings, emotions, and will-impulse and radiate actions based on these qualities out of their bodies. In short, valuable actin technique based on ‘Imagination Improvement’ will provide a solution for the actor in the current theatre which requires infinite use of body and the active creation of characters, different from the traditional reproduction method.

참고자료

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