지각하는 몸의 원리: 미하일 체홉의 제스처 - 현상학적 관점을 통한 배우와 역할 사이의 거리와 캐릭터 창조 (The Priciple of Perceiving Body : Michael Chekhov's Gesture - The distance between actor and its role and characterizing through phenomenological perspective)

서지정보

· 발행기관 : 한국연극교육학회
· 수록지 정보 : 연극교육연구 / 27권 / 27호 / 73 ~ 99페이지
· 저자명 : 안정민

초록

This study is aiming to discover the theatricality of Michael Chekov’s Psychological Gesture, especially its role of making distance between the individuality of actor and character. Phenomenological scope will be adapted in order to find the principle underpinning Chekov’s actor training system.
For Michael Chekov, actor’s skill is not about acting character, but about acting the atmosphere of character. Hence, actor is not a person who tries to incarnate character either logically analyses it. Instead, he/she presents the body perceiving atmosphere and evoking it simultaneously. Here, the need of Psychological Gesture arises. It is the body that keeps adjust itself in order to perceive the atmosphere more precisely. From phenomenological sense experience yielded by altering and discovering Gestures, actor’s feeling and will power which moves toward action initiate. Psychological Gesture also creates the distance between individual physicality and the character which will not be acted by actors but will be phenomenologically signified by them.
Situating psychological gesture as phenomenological sensing body creates the meaning generating loop with making the texture, colour of meanings and physicality of actors deepened and enhanced. In addition, this loop invites audience as co-creator of performance, since actor in the movement of gestures ‘signifies’ the layers of atmosphere and energy of characters rather than represents or semiotically depicts them. In this process, audiences posit themselves as the subject who completes the signified according to the sense experience from the configuration of signifiers.
This inter-subjectivity amongst actors and audience lets character occur as a situation does. Hence, for Michael Chekov, character is not a product but byproduct or finding which only exists in-between, in the phenomenological relationship.
Encompassing the basic terms of Chekov from the view of phenomenology, it will be seen that his acting theory is the determination of embracing literature with theatricality and re-situating it as the field of atmosphere which inspires theatre creators.

영어초록

This study is aiming to discover the theatricality of Michael Chekov’s Psychological Gesture, especially its role of making distance between the individuality of actor and character. Phenomenological scope will be adapted in order to find the principle underpinning Chekov’s actor training system.
For Michael Chekov, actor’s skill is not about acting character, but about acting the atmosphere of character. Hence, actor is not a person who tries to incarnate character either logically analyses it. Instead, he/she presents the body perceiving atmosphere and evoking it simultaneously. Here, the need of Psychological Gesture arises. It is the body that keeps adjust itself in order to perceive the atmosphere more precisely. From phenomenological sense experience yielded by altering and discovering Gestures, actor’s feeling and will power which moves toward action initiate. Psychological Gesture also creates the distance between individual physicality and the character which will not be acted by actors but will be phenomenologically signified by them.
Situating psychological gesture as phenomenological sensing body creates the meaning generating loop with making the texture, colour of meanings and physicality of actors deepened and enhanced. In addition, this loop invites audience as co-creator of performance, since actor in the movement of gestures ‘signifies’ the layers of atmosphere and energy of characters rather than represents or semiotically depicts them. In this process, audiences posit themselves as the subject who completes the signified according to the sense experience from the configuration of signifiers.
This inter-subjectivity amongst actors and audience lets character occur as a situation does. Hence, for Michael Chekov, character is not a product but byproduct or finding which only exists in-between, in the phenomenological relationship.
Encompassing the basic terms of Chekov from the view of phenomenology, it will be seen that his acting theory is the determination of embracing literature with theatricality and re-situating it as the field of atmosphere which inspires theatre creators.

참고자료

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