새로운 연기예술 패러다임, 도발(Provocation)의 연기미학 -까마 긴까스와의 만남- (The Paradigm of the new Acting Art of ‘Provocation’)

서지정보

· 발행기관 : 한국연극교육학회
· 수록지 정보 : 연극교육연구 / 1권 / 15호 / 31 ~ 46페이지
· 저자명 : 김태훈

초록

The basic principle of acting art is that truthful internal emotion is formed inside actors through ‘fictitious true’ accepted from the outside and it is come out by external ‘expression measures (bodies and sounds)’ through the process of ‘emittance.’ The principle is absolutely applied to all artistic types containing acting actions, and is the fundamental principle of human actions that has not been changed in the passage of time.
In recent times, acting art has tended to be changed in external expression with the question of how ‘emitted truthful internal emotion’ is expressed without any external expressions. It is presumed to be humans’ internal desire to opposite the trend of visualization and external expression (body and sounds), and the author defines it as a transit from ‘desire and fullness’ to ‘speculation and vacancy.’
Here is ‘Grotesque’ of Stanislavskii’s acting esthetics. It is not lexically mean ‘fearful’ or ‘bizzarre’, but mean ‘expansion’ or ‘amplification.’ Namely, it means that external expression is emitted by expanding or amplifying internal emotion. Italian actors of Comedia dell’ arte have variously applied grotesque acting methods. In modern plays, ‘grotesque’ makes viewers feel embarrassment or heterogeneity through ‘unexpected reaction (expression)’ and ‘disappointing actions.’ Such grotesque methods are intensively applied in Disimilation of Brecht’s theory or the stylization of bio-esthetics of Meyerhold. It is because speculation given from actions is transferred to viewers selectively, not forcibly. In addition, it is developed into ‘suppression’ or ‘inactivity’ though truthful internal emotion should be emitted or assimilated viewers eagerly need something, not just ‘inverse idea’, because it positively induces the objective speculation of viewers.
This study aims at considering the acting esthetics of ‘speculation and vacancy’, the new paradigm of acting art of the present century, through accepting ‘grotesque’the acting esthetics of Stanislavski to Korean conditions.

영어초록

The basic principle of acting art is that truthful internal emotion is formed inside actors through ‘fictitious true’ accepted from the outside and it is come out by external ‘expression measures (bodies and sounds)’ through the process of ‘emittance.’ The principle is absolutely applied to all artistic types containing acting actions, and is the fundamental principle of human actions that has not been changed in the passage of time.
In recent times, acting art has tended to be changed in external expression with the question of how ‘emitted truthful internal emotion’ is expressed without any external expressions. It is presumed to be humans’ internal desire to opposite the trend of visualization and external expression (body and sounds), and the author defines it as a transit from ‘desire and fullness’ to ‘speculation and vacancy.’
Here is ‘Grotesque’ of Stanislavskii’s acting esthetics. It is not lexically mean ‘fearful’ or ‘bizzarre’, but mean ‘expansion’ or ‘amplification.’ Namely, it means that external expression is emitted by expanding or amplifying internal emotion. Italian actors of Comedia dell’ arte have variously applied grotesque acting methods. In modern plays, ‘grotesque’ makes viewers feel embarrassment or heterogeneity through ‘unexpected reaction (expression)’ and ‘disappointing actions.’ Such grotesque methods are intensively applied in Disimilation of Brecht’s theory or the stylization of bio-esthetics of Meyerhold. It is because speculation given from actions is transferred to viewers selectively, not forcibly. In addition, it is developed into ‘suppression’ or ‘inactivity’ though truthful internal emotion should be emitted or assimilated viewers eagerly need something, not just ‘inverse idea’, because it positively induces the objective speculation of viewers.
This study aims at considering the acting esthetics of ‘speculation and vacancy’, the new paradigm of acting art of the present century, through accepting ‘grotesque’the acting esthetics of Stanislavski to Korean conditions.

참고자료

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