화술/발성 실기(voice practice) 관점에서 본 공명(resonance) 훈련 (Resonance work in the viewpoint of voice practice)

서지정보

· 발행기관 : 한국연극교육학회
· 수록지 정보 : 연극교육연구 / 25권 / 25호 / 39 ~ 65페이지
· 저자명 : 이상욱

초록

Resonance is the phenomenon of the vocal tract in which the first vibration created in the larynx is amplified through a sympathetic vibration when it goes through the vocal tract. It is difficult to say that resonance decides a nuance of speech as the first tone is made in the larynx. However, as it needs resonance to strengthen its volume and texture in order for the voice to deliver to the outer world, resonance has an important role to contribute to a vocal quality of an actor's speech. It is not too much to say that resonance can influence an actor's ability to manage his lines.
Despite of these values, the Korean theatre education studies seems to have marginalized resonance in areas of researches. I suppose that this is due to a misunderstanding that resonance is just to deal with the tone of the voice. As the Korean theatre field highly respects inner truths of a character, this misunderstanding is enough to lead Korean actors and teachers to despise its value in support to truthful acting. In addition, the vocal tract is linked with muscles involved in phonation and articulation. Analyzing resonance work inevitably require investigations of those processes in speech, which can be a hard work. To make it more complicated, every voice practitioner that is familiar with Korean theatre people has his or her own terms and points in resonance work. It is not easy to analyze them with a general term of voice practice, resonance.
This research attempts to analyze resonance exercises with an aim of identifying what resonance training is. For this purpose, 5 voice practitioners of British and America are chosen, who are Barbara Houseman, David Carey and Rebecca Clark Carey, Michael McCallion, Cicley Berry and Kristin Linklater.

영어초록

Resonance is the phenomenon of the vocal tract in which the first vibration created in the larynx is amplified through a sympathetic vibration when it goes through the vocal tract. It is difficult to say that resonance decides a nuance of speech as the first tone is made in the larynx. However, as it needs resonance to strengthen its volume and texture in order for the voice to deliver to the outer world, resonance has an important role to contribute to a vocal quality of an actor's speech. It is not too much to say that resonance can influence an actor's ability to manage his lines.
Despite of these values, the Korean theatre education studies seems to have marginalized resonance in areas of researches. I suppose that this is due to a misunderstanding that resonance is just to deal with the tone of the voice. As the Korean theatre field highly respects inner truths of a character, this misunderstanding is enough to lead Korean actors and teachers to despise its value in support to truthful acting. In addition, the vocal tract is linked with muscles involved in phonation and articulation. Analyzing resonance work inevitably require investigations of those processes in speech, which can be a hard work. To make it more complicated, every voice practitioner that is familiar with Korean theatre people has his or her own terms and points in resonance work. It is not easy to analyze them with a general term of voice practice, resonance.
This research attempts to analyze resonance exercises with an aim of identifying what resonance training is. For this purpose, 5 voice practitioners of British and America are chosen, who are Barbara Houseman, David Carey and Rebecca Clark Carey, Michael McCallion, Cicley Berry and Kristin Linklater.

참고자료

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