• 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.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.18 no.3
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• pp.749-753
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• 2014

The purpose of this study analyzes the basic elements of film acting based on Stanislavsky Circles of Attention. This research also demonstrates the basic elements on how to become a good film actor. I attempt to interpret Stanislavsky Circles of Attention, in order to adapt the size of camera shots and the location of microphones. This Circles of Attention is an effective method utilized for actors to help them understand and be absorbed in the work of art both in film and stage. It is useful for building a character in realism drama as well as in film. I believe Stanislavsky Circles of Attention is certainly the most advanced acting style in film because it proposes the importance of physical action for actors.

• The Journal of the Korea Contents Association
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• v.14 no.4
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• pp.78-85
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• 2014

Europeans experienced the horror and cruelty of war through the first and second World Wars. They began to raise fundamental questions and doubt about the preexisting World Order of God and humans leading to the birth of Existentialism. The Theater of the Absurd is one of the genres in theater resulting from the existentialist theories. The Theater of the Absurd has a format opposed to the traditional Realist Theater and emphasize the absurdity of human and society's existence. In particular, Fernando Arrabal who is a French Absurdist playwright, expressed the absurd human conditions using his unique forms and contents and his work 'Fando et Lis' depicts the absurdity of the adult world through the eyes of a child. Many unrealistic elements typical and inherent in the Absurdist plays are present in his work. Especially, the actors were required to apply not only the realistic acting approach but also to study and analyze characteristics of all Absurdist plays and internalize them based on the creative foundation of recreation. Then, they were asked to examine the characters' personality, emotions, and actions and think hard about creating an unrealistic action of voice and movements. This creative process by actors is a must in developing the reliable and trustworthy Absurdist acting.

• The Journal of the Korea Contents Association
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• v.17 no.12
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• pp.408-416
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• 2017

This researcher looked at the characteristics of "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques focused on body expressions and sought to utilize it as training method for modern actors. 'Body postponement as a symbol' is a key characteristic of "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques, and each facial expression, gesture, and movement performed by an actor has a specific meaning. Therefore, the study on "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" has been treated as a major study mainly in the non-realistic expression style or the body-centered acting theory. Therefore, a study on "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques was mainly dealt with as a major research subject in the nonrealistic expression style or body-centered acting theory. This study, on the other hand, emphasized the importance of research on the utilization plan of actor training, which can be usually used in realistic plays as well as non-realistic plays. According to psychologists such as Damasio and Eckman, internal impulses can also be triggered through expressions and actions associated with emotions. In addition, not only acting through the actor's inner impulse, but also expression of the actor's faithful external emotion can trigger the emotion of the audience. Such a case can be a psychological basis that "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" acting techniques, which defines rasa and expresses it physically, can be used as a methodology to enhance inner truth. Therefore, the study on the actor training utilizing ing "$N\bar{a}tya$ $\acute{s}\bar{a}stra$" can be applied as an effective approach in the study of contemporary acting theory which intends to integrate inner impulse and external expression.

• (The) Research of the performance art and culture
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• no.20
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• pp.31-61
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• 2010

This thesis proposes to explore the theatre aesthetics of North-Korea during after the Liberation. From now South-Korean theorists have provided the theatre aesthetics of North-Korea to South-Korea, so we can say that it lacks of an equity. For example, South-theorists have said that North-Korean theatre only emphasized politics and propaganda, they have had not any aesthetics in performance. So this study focused on North-Korean critics and records for fairness and as a result something new is founded. The best theatres in North-Korea were some works which contains natural and proper lines to character, well-expressed inner desires of characters, realistic acting and stage design, and realistic life of working class. Of course they should reflect communist ideology and policy, but more important is that it did not mean everything in North-Korea. So we can say that it is fact that North-Korea should reflect their policy, which does not mean lack of aesthetics of performance. North-Korea had an obvious point of view for theatre, and they made an effort to realistic lines, movements and stage. During right after the Liberation, North Korea sought to find an answer for 'realization of true life', and sought to eliminate Japanese acting style in theatre. Concluded theatre aesthetics of North-Korea during right after the Liberation is realistic acting and directing style.

• The Journal of the Korea Contents Association
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• v.15 no.5
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• pp.108-118
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• 2015

One hundred years have passed since the Western modern play emerged in Korea. Meanwhile, the numerous actors have appeared and disappeared as well, but leaving the record of their great art of acting is still negligible. For stage performances recorded and restoration of works of art creative process is a very important basis for future generations inherit a world of art. The aim of this study will look back on the life and achievements of the greatest senior actor, Jang Min-ho(1924-2012) died in 2012 and see his acting career and world of art. He was born at the time actors were not valued as an expert yet. Recording a life of an actor itself becomes an opportunity for fundamental reflection for the essence of play and role of actor, and introspecting an actor's life on acting becomes an effect that the actor's unique acting style is delivered to younger generations. By recording the actor's life and life on art, I hope that the contemporaries are able to recognize the value and importance of artists leading the contemporary era with being increased interest.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.47-55
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• 2020

In this paper, acting of Meryl Streep, who was recognized as a method actor in Hollywood, was analyzed, and this paper tried to find out how Meryl Streep utilizes the American acting method to improve her acting skills. To do this, we first looked at the concepts and theories of the American acting method, and analyze the acting of Meryl Streep through three films: "Sophie's Choice", "The Devil Wears Prada", and "The Iron Lady". Analysis results show that Meryl Streep utilizes all of the American acting methods, such as "Emotional memory", "Imagination", "Given Circumstance", and "Repetition" without any particular distinction. Meryl Streep uses not a specific acting theory, but selects appropriate training for herself. According to the analysis of this paper, we can understand the acting method that Meryl Streep uses, and shows some way to develop the acting training. The result of this paper can be used to the acting training, and it will be an opportunity to follow in the footsteps of one of the greatest actress.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.133-144
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• 2020

This study is a new proposal for the methods of actor training and role creation in the contemporary theater and an approach to the practical utilization of the performer, regarding the actor's 'presence' as the essence of living arts, a peculiarity of theater. As the method for this, this study sorts out Vakhangov and Mikhail Chekhov's elements of acting techniques and at the same time, allows an easier approach to the theoretical concept based on the performance records found in the developmental process. The magic realism and the technique of acting discussed in priority in this study emphasize the importance of the exploration and realization of artistic inspiration in everyday life, the actor's imagination and image, and unconsciousness as a method for creating new actors and diversifying their roles. When their common views are summed up, the goals to achieve include a study of a creative method in which outer form and inner truth are combined and the implementation of a new system for creating the individual actor's originality. This study would classify the similarities and differences found through this, reveal the limit of practical efficacy and propose it as a universal method for creating the roles, asking for the actor's voluntary training and active attitudes.

• Cartoon and Animation Studies
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• s.45
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• pp.177-195
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• 2016

This article analyzes Sergei Eisenstein's acting theory, which is famous for his Russian montage. According to the existing discussions, he avoids the psychological realism through the concept of cut acting. It is a method like montage from the viewpoint that the practice of the cut action is segmented into shots. While Vsevolod Pudovkin, who asserts a connection montage, is looking for performance to portray a gradual change of emotion adopted by Konstantin Stanislavsky's psychological realism, Eisenstein prefers the acting of Vsevolod Meyerhold's masks in the same manner as the collision montage. This article traces the viewpoints on acting and actor that Eisenstein posed throughout his montage theory. It focuses on Film Sense(1942) and Film Form(1949), which are a collection of articles written by Eisenstein. As a result of examining the domestic and foreign literatures centering on Korean and English, it is hard to find the discussions on the analysis of Eisenstein's acting theory. Almost all of them are concentrated in his montage, among which the mention of acting is extremely limited. The cut acting, the typage, the inner techniques and processes of actor that express and induce the living emotions, and the acting of the integrating into diversity as one of the inner language are useful concepts in the creation and case analysis of contemporary films. Especially, his acting theory can be applied in the creation process of cartoons, webtoons, and animations which can meet the most decisive and impressive montage technique of Eisenstein. It is also possible to find many related cases for the analysis. This is why I look back on Eisenstein's film acting theory, and the results of the discussion will be a sufficient foundation for the derivation of related research.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.117-130
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• 2020

The Golden Dragon is a work that reminds us of the tragic illusion of globalization through the story of Asian workers' lives in Berlin, a strange city. Also, the post-epic nature of the play requires the audience to see it in a new way, more different than before. In Korea, there are theoretical studies on the post-epic theatre, but there is little research on specific acting approaches based on practical production process. Therefore, I first analyze the post-epic characteristics of The Golden Dragon in order to present specific acting approaches. As a result, it would be confirmed that body-centered acting approaches were required in the post-epic theatre to play more different roles than in the realism play. Thus, Laban movement Analysis(LMA) of Rudolf von Laban is applied so that internal impulses could be naturally induced through the utilization of the body. Of the four categories of motion(BESS), Laban seeks to look at the body-centered acting approaches through the effort. Finally, it must be confirmed through the actual production process that Laban's theory of motion could be used as a body-centered acting approach to creating the role of post-epic theatre.