• The Journal of the Korea Contents Association
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• v.11 no.8
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• pp.159-169
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• 2011

Due to media's characteristics, the methods of acting expression in stage differ from that in media. However, actors playing in either genre use the same internalization as the basis of their performance. The acting arising from actors' internalization is the same in stage acting and media acting. Nevertheless, media acting, by its genre characteristics, requires a more delicate and natural acting than that in stage acting. Such is because media acting shows a far more detailed and amplified performance that is shown on screen. The purpose of this research is to examine how to differentiate the expression characteristics of media acting from the expression methods of stage acting. Through this research, I attempt to present the expression methods of media acting that can show real life acting reflecting media's distinct characteristics, with the aim of benefiting students who practice media acting or professional actors. Diverse expression methods presented by training of media acting are expected to enable actors engaged in this field to produce excellent outcomes through acting training to successfully bring out a realistic and convincing performance through internalization. And together with the opportunity to build delicate and detailed acting styles that are required in media acting, acting styles that are differentiated from those in stage acting will also be discussed.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.203-210
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• 2021

Yuri Vasilyev - actor, director and drama teacher. Russian meritorious artist, winner of the stage "Medal of Friendship" awarded by Russian President Vladimir Putin; academician of the Petrovsky Academy of Sciences and Arts in Russia, professor of the Russian National Academy of Performing Arts, and professor of the Bavarian Academy of Drama in Munich, Germany. The physiological sense stimulation method based on the improvement of voice, language and motor function of drama actors. On the basis of a systematic understanding of performing arts, Yuri Vasiliev created a unique training method of speech expression and skills. From the complicated art training, we find out the most critical skills for focused training, which we call basic skills training. Throughout the whole training process, Professor Yuri made a clear request for the actor's lines: "action! This is the basis of actors' creation. So action is the key! Action and voice are closely linked. Actor's voice is human voice, human life, human feeling, human experience and disaster. It is also the foundation of creation that actors acquire their own voice. What we are engaged in is pronunciation, breathing, tone and intonation, speed and rhythm, expressiveness, sincerity, stage voice and movement, gesture, all of which are used to train the voice of actors according to the standard of drama. In short, Professor Yuri's training course is not only the training of stage performance and skills, but also contains a rich view of drama and performance. I think, in addition to learning from the means and methods of training, it is more important for us to understand the starting point and training objectives of Professor Yuri's use of these exercises.

• Journal of Korea Entertainment Industry Association
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• v.14 no.2
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• pp.41-50
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• 2020

Acting is an act of expressing personality, image, sound, tempo, and movement flexibility in order to effectively express fictional characters in the play. It is said to refer to the action or mood of the person performing the character. In addition, all these acts are important elements of the media that the director wants to convey the subject of the work to the audience. In particular, the actor relies on the ambience, image and passionate role of winning and losing in theatrical film. In addition, more than 60% of the afterimages or remaining images in the film are images of the actor's acting or movement, and the trend of the actor. This study is not about acting divided by Conti, who is under the control of directors and directors. The purpose of this study is to analyze the aesthetic response and analyze the inner half of the suspense in the act and to help influence the expression that is effective in expressing the play.

• The Journal of the Korea Contents Association
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• v.16 no.11
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• pp.707-715
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• 2016

The most important role of actors is to transmit the thoughts and feelings to the audience or viewers. The expression methods of acting of each genre are clearly different. In order for the actors to act, crossing over the boundary of each genre such as movies, TV, dramas, musicals, they should understand the characteristics of each of the subdivided genres. If they understand the characteristics of the acting method different from one another and acquire the expression method to adapt to the spatial circumstances of each of the media, it becomes freer to act, crossing over the boundary of each of the genres. For the sake of this, actors must understand and acquire the characteristics of each of the genres. First of all, it is important to understand the difference between acting in the media and acting on the stage and to understand the characteristics of each of the genres.

• Journal of Korea Entertainment Industry Association
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• v.13 no.1
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• pp.89-98
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• 2019

Performing arts, for instance, theatre and dance that perform on the stage, should recognize the contemporary characters and also emphasize the trend of the times. Thus, the subject of those varies and provides the audience diversity contents and style. People who perform those try to put the contemporary characteristic and sociality into their stage by utilizing new technology for their stage to be more sophisticated in aesthetic and philosophic aspects. According to the trend of the times, science and technology have been making great progress. As a result, the stage technology continues to develop, contributing to enhance the aesthetic and philosophical completeness of the performing arts. Also, there are technical and formal researches or methods constantly that make the performing arts new and diverse. Therefore, it can be said that it is very important to widen a category of the performing arts that amplify the actor's acting and emotions on the stage and then give the audience an experience. This paper will analyze in the way which various image techniques utilize to widen the actor's technique in the performing arts and the actor's technique progresses in the era called the Fourth Industrial Revolution era that grafts the art onto new media. Through this paper, in the era of the Fourth Industrial Revolution, a new paradigm in actor's acting which is becoming a hot topic in performing arts is predicted and anticipated.

• The Journal of the Korea Contents Association
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• v.13 no.7
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• pp.70-79
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• 2013

The film language is distinguished roughly according to shot angles and size and camera movement. The film language is what the performer should be well-acquainted with in camera acting. Since the most important characteristics of acting in front of the camera lies in being with the camera, the relationship between the camera and the performers is basically mutual communication and is the inseparable relationship in which they should be well acquainted with each other. Understanding of diverse film languages for acting in front of the camera enables the performer to adapt to the media quickly and to concentrate on acting. Performance changes according to the media or environment in which acting is performed. For a good performance, the performers should be able to appropriately express their own acting according to the characteristics of the space or the media in which they do performance. Acting in front of the camera is clearly distinguished from acting on the stage in the aspects of either media characteristics or acting. With the manifestation of extemporaneousness and the discovery of the performers' personality to the extent possible, performers themselves proceed with creative works in collaboration with the director in acting in front of the camera and can attain the development of acting in front of the camera.

• Fire Science and Engineering
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• v.31 no.5
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• pp.28-36
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• 2017

In this work, the effects of fire curtain and forced smoke ventilation on smoke spread to auditorium in the stage fire of theater were investigated using the Fire Dynamics Simulator (FDS). For the stage of 31 m (Width)${\times}$34 m (Depth)${\times}$32 m (Height) in dimension, the fast growth fire condition with 10 MW of heat release rate was applied. The forced smoke ventilation was set based on the National Fire Safety Code (NFSC) and previous research. The gap distances between the fire curtain and proscenium wall was established to be 0 m and 0.5 m. When the fire curtain was attached completely to the proscenium wall without any gap, no smoke spread from the stage to the auditorium occurred, independent of forced smoke ventilation. When the gap distance between the fire curtain and proscenium wall was 0.5 m, the smoke layer in the stage descended to the lower height from the bottom than the case without the fire curtain, which was because the smoke spread to auditorium was impeded by the fire curtain. Under the same fire curtain condition, the case with the forced smoke ventilation led to decreasing the mass flow rate of outflow through the gap between the fire curtain and proscenium wall, as compared to the case without the forced smoke ventilation. Based on this study, it was confirmed that the fire curtain and forced smoke ventilation were the effective tools to hold down the smoke spread to the auditorium in the stage fire of theater.

• Fire Science and Engineering
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• v.32 no.6
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• pp.7-14
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• 2018

This study investigated numerically the influences of fire curtain and natural smoke vent area on smoke movement in the stage fire of a theater using FDS (Fire Dynamics Simulator). The dimension of the theater stage was 31 m in width, 34 m in depth, and 32 m in height. The area ratios between the natural smoke vent and stage were approximately 10%, 8%, 5%, and 1%. The gap distance between the fire curtain and proscenium wall was 0.5 m. The fire curtain and natural smoke vent area were observed to affect significantly the behavior of smoke movement to the auditorium and the mass flow rates of inflow and outflow through the natural smoke vent and proscenium opening. In addition, under the same natural smoke vent area, the pressure in the stage with a fire curtain was lower than that without a fire curtain.

• The Journal of the Korea Contents Association
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• v.13 no.1
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• pp.137-146
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• 2013

Anton Chekhov was able to deliver a significant influence to the 20th realist drama types and styles, because his deep thoughts about diverse aspects of human life were realistically expressed on stages. Western realistic actors endeavored to embody their routines based on their words, behaviors, and habits. Chekhov used his outstanding talent to identify the characteristics of people, created unforgettable drama characters, and focused on their behavioral motives. From his philosophical point of view, Chekhov argued that secrets are hidden in life itself, and that everything, shown on the stage, should be as it is in our actual daily life. The realistic acting, recognizing the difference between the daily truth and the truth mentioned in works, pursued acting styles by which audiences regarded play characters as the real people.

• Proceedings of the Korea Contents Association Conference
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• 2014.11a
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• pp.321-322
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• 2014

원작이 뮤지컬 "노트르담 드 파리"로 변환되면서 관객에게 효과적으로 소구하기 위해 어떤 무대화(Mise en sc$\grave{e}$ne) 과정을 거치는지 관심을 집중해보도록 하겠다.