19세기 말 20세기 초, 시각예술로서 '영화'의 발견과 연극 무대미술의 공헌 (From the end of the 19th century to the beginning of the 20th century, th discovery of 'film' as a visual art and contribution of theatrical stage art)

서지정보

· 발행기관 : 한국연극교육학회
· 수록지 정보 : 연극교육연구 / 31권 / 31호 / 81 ~ 108페이지
· 저자명 : 심형근

초록

This study focuses on the role of stage art in the history of image transformation from painting and theater to film in the late 19th and early 20th century, focusing on the birth of film and the development process of film art.
In addition, I will examine the contribution of theater stage art to the development of film art and examine the historical genetics and artistic value system of film art by studying the aesthetic role of movie art.
The art of the future changes without changing the historical passion of the past. Therefore, this study aims to remind us of the aesthetic potential of ‘stage art’ for the present and future, not the history of theater and the aesthetics of film images that have been in the past in the digital era.
The drama and the film share the dramatic image of mise-en-scene. Dramatic images are created on the basis of a three-dimensional environment called space. The play is a continuous space. Proscenium Arch defines the stage within a unified time. The theater stage should give all the visual meanings in the time of a given area and the continuing space of a proscenium arch. The movie screen can be said to be the proscenium arch of the play. A movie is a sequence of segmented spaces. If drama is a contemplation of a linear space, the film is an experience of nonlinear segmented spatial fragments. The frame of the camera lens creates a shot, composes the scene, and finally passes to the frame of the screen. The spatial interpretation of this film is similar to the visual experience, which differs from the movement of the human eye in the architectural arts. Space experience has a dual structure of ‘visual’ and ‘psychological’. The continuity of space with temporal change is developed into scenes and scenes, and experiences visual and psychological experiences consecutively. Thus, the art of the linear theater stage and the art of the nonlinear film are the same but have different visual recognition methods.
Nonetheless, the arts of drama and film have a common burden of maximizing imagination for the visual fantasy that captures the audience's focus.
In the 1920s, expressionism films emerged in Germany, creating the concept of an art director responsible for the visual atmosphere of the film. Beyond merely the background for narrative, we considered the responsibility for the aesthetic value the screen should have. In the end, the aesthetic research on mise en scène in theatrical stage art led to its genetic knowledge system as film art and expanded its field to ‘art activities’ for poetic creation of dramatic fantasy.

영어초록

This study focuses on the role of stage art in the history of image transformation from painting and theater to film in the late 19th and early 20th century, focusing on the birth of film and the development process of film art.
In addition, I will examine the contribution of theater stage art to the development of film art and examine the historical genetics and artistic value system of film art by studying the aesthetic role of movie art.
The art of the future changes without changing the historical passion of the past. Therefore, this study aims to remind us of the aesthetic potential of ‘stage art’ for the present and future, not the history of theater and the aesthetics of film images that have been in the past in the digital era.
The drama and the film share the dramatic image of mise-en-scene. Dramatic images are created on the basis of a three-dimensional environment called space. The play is a continuous space. Proscenium Arch defines the stage within a unified time. The theater stage should give all the visual meanings in the time of a given area and the continuing space of a proscenium arch. The movie screen can be said to be the proscenium arch of the play. A movie is a sequence of segmented spaces. If drama is a contemplation of a linear space, the film is an experience of nonlinear segmented spatial fragments. The frame of the camera lens creates a shot, composes the scene, and finally passes to the frame of the screen. The spatial interpretation of this film is similar to the visual experience, which differs from the movement of the human eye in the architectural arts. Space experience has a dual structure of ‘visual’ and ‘psychological’. The continuity of space with temporal change is developed into scenes and scenes, and experiences visual and psychological experiences consecutively. Thus, the art of the linear theater stage and the art of the nonlinear film are the same but have different visual recognition methods.
Nonetheless, the arts of drama and film have a common burden of maximizing imagination for the visual fantasy that captures the audience's focus.
In the 1920s, expressionism films emerged in Germany, creating the concept of an art director responsible for the visual atmosphere of the film. Beyond merely the background for narrative, we considered the responsibility for the aesthetic value the screen should have. In the end, the aesthetic research on mise en scène in theatrical stage art led to its genetic knowledge system as film art and expanded its field to ‘art activities’ for poetic creation of dramatic fantasy.

참고자료

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