• Journal of Korea Entertainment Industry Association
• /
• v.14 no.3
• /
• pp.277-284
• /
• 2020

This thesis interrogates the term a performer's 'spontaneity' as the key principle to approach and enhance contemporary performer's training and acting. Drawing on a number of problematic issues, this thesis particularly examines the paradigm of the subtle bodily movement inform the experience of a performer's spontaneity as embodied and understood in approaching and adapting through text analysis and action. The in-depth process of the relationship between a performer's action and the transformative effects, is central to understanding and adapting the key principle of acting/training that a specific text would pursue through a specific performance by means of what a performer must do on stage. Following the discussion of acting in training and rehearsal, this thesis argues the necessity of an alternative way(s) and model of the performer's work via how the performer's action is sincerely emerged from the moment-by-moment rather than the performer anticipates what comes in the next and therefore pretend to do/be something/someone. Expanding upon the assumptions mentioned above, this thesis provides some pragmatic and descriptive work(s) from the practitioners' concepts and approaches that invites us to reconsider the nature of acting and its adaptability for contemporary performers.