• Journal of Korean Theatre Studies Association
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• no.52
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• pp.271-317
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• 2014

This essay studied the acting theories of Diderot, Delsarte, Meyerhold, and Artaud to know the historical formation of 'sign acting' and its theoretical and aesthetic appropriateness. The sign acting so far discussed shows the repetitive patterns of idea as follows. The sign acting (1) emphasizes the physical expression such as gesture and movement, (2) assumes that the physical expression functions as a sign evoking special emotion and thought, (3) thus recommends the imitation of the outer sign, (4) uses a tableau for the effective reception of outer sign, (5) aims for the spectator oriented aesthetics as it stresses the result of outer sign rather than the creative process of a role, (6) assumes that the emotional reaction or the intellectual understanding springs from the physical experience, (7) thus emphasizes the physical language rather than speech, (8) can attain the appropriateness of physical language by the recent theories of cognitive science. Besides having such commonness, the sign acting also reveals the individual differences. For instance, the intended sign for Diderot and Delsarte was the sign of emotion, for Meyerhold the stylized sign of circus and acrobatics, and for Artaud the spiritual sign. If Diderot and Meyerhold demands the cool consciousness for the correct sign acting, Artaud's sign acting tends to pursue the state of trance. And if Diderot, Delsarte, and Meyerhold think the sign acting on the level of sensory appeal, Artaud insists that the sign acting should dismantle the spectator's sense. As such the discussion of sign acting shows both recurrent ideas and new visions, forming an unity out of diversity. Perhaps the sign acting is a matter of practice before we consider it as a theory. It is not only supposed to have been existed practically since ancient theatre, but also used by actors consciously and unconsciously in expressing certain emotion and thought. We need to study the sign acting more academically, considering its long history and aesthetic potentials. In fact the sign acting has been an essential element of acting, in spite of bad reputation judging it as a banal and worn-out style. It is true that the sign acting, in the worst case, could produce a stereotypical expression. It was this aspect of sign acting that caused a fierce negative reaction of the realists who sought the natural expression based upon psychological truth. Of course the sign acting has a serious problem when it stays banal and artificial. But we need to see this issue from a different perspective. What is the natural expression of emotion? How is it free from the learned way of expression? In some respect, we use, in reality, a learned expression of emotion that could be accepted socially. For instance, when we attend a funeral, we use the outer sign of mourning gestures learned socially. If a semiotic expression pervades various aspects of our life, the acting, being the representation of life, seems not to be free from codified expression. The sign acting could be used consciously and unconsciously in all kinds of acting.

• 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.13 no.8
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• pp.313-323
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• 2019

For the actors on video, facial expression acting can easily become 'forced facial expression' or 'over-acting'. Also, if self-restraint is emphasized too much, then it becomes 'flat acting' with insufficient emotions. By bringing forth questions in regard to such facial expression acting methods, this study analyzed the facial expression acting of the actors in genre dramas with strong commercial aspects. In conclusion, the facial expression acting methods of the actors in genre dramas were being conducted in a typical way. This means that in visual conventions of video acting, the aesthetic standard has become the important standard in the facial expression acting of the actors. In genre dramas, the emotions of the characters are often revealed in close-up shots. Within the close-up shot, the most important expressive medium in a 'zoomed-in face' is the 'pupil of the eye', and emotions are mostly expressed through the movements of the eye and muscles around it. The second most important expressive medium is the 'mouth'. The differences in the degree of opening and closing the mouth convey diverse emotions along with the expression of the 'eye'. In addition, tensions in the facial muscles greatly hinder the expression of emotions, and the movement of facial muscles must be minimized to prevent excessive wrinkles from forming on the surface of the face. Facial expressions are not completed just with the movement of the muscles. Ultimately, the movement of the muscle is the result of emotions. Facial expression acting takes place after having emotional feelings. For this, the actor needs to go through the process of 'personalization' of a character, such as 'emotional memory', 'concentration' and 'relaxation' which are psychological acting techniques of Stanislavsky. Also, the characteristics of close-up shots that visually reveal the 'inner world' should be recognized. In addition, it was discovered that the facial expression acting is the reaction acting that provides the important point in the unfolding of narratives, and that the method of facial expression and the size of the shots required for the actors are different depending on the roles of main and supporting characters.

• Microbiology and Biotechnology Letters
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• v.19 no.1
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• pp.37-44
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• 1991

- I aimed to isolate trans-acting factors involved in the basal expression level of eukaryotic genes. One of the yeast histidine biosynthetic gene, HIS5 was taken as a model for this study. HIS5 gene has a substantial basal level in amino acid rich medium and is derepressed if starved for any single amino acid. The derepression is mediated by cis-acting DNA sequences 5'-TGACTC-3' found in 5' non-transcribed region of the gene and trans-acting factors including GCN4 as positive factor and its negative factor GCDI 7, and GCNZ as a negative factor of GCD17. I first investigated the role of these trans-acting factors in HIS5 basal expression level by using HIS5-pH05 fusion in which expression of pH05 gene encoding inorganic phosphate-repressible acid phosphatase (APase) is regulated by HIS5 promoter. Strain with gcn2 or gcn4 mutation showed 3 to 4 fold lower APase activity than wild type. The level of APase activity was similar in gcn2 and gcn4 mutants. Trans-acting factors involved in basal level were identified by isolating 14 mutants showing increased expression of HISSPH05 fusion from gcn4 background. All the mutants carry a single nuclear recessive mutation and fall into four complementation groups, designated as bell (basal expression level), be12, be23 and be14.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.108-116
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• 2013

Park Jung-hoon started his acting career in movie since undergraduate year at Chungang University, Drama and Cinema school, and till now he is a very active and nationally beloved actor in Korea. However, to this day there isn't any study about him, so this study might be the right time to take a look at his acting style again. This report will find and review his distinctive patterns in acting, and roughly assess the character expression from character, Dong-chul, in the movie, My Dear Desperado; which has been evaluated as the best movie to show the inner side of character. His acting pattern is segmented by 3 parts; Park Jung-hoon style comical acting, expression of macho side of masculinity, and subtle inner emotion expression acting. Then his acting technique is analyzed from character Dong-chul in the movie, My Dear Desperado, which he acted out change in character from low-class nonsense gangster to a good-hearted man flawlessly. In addition this report will try to find his acting technique that made impossible distance between the characters possible. This study hopes to start and continue other studies that discuss many movie actors' and actresses' different character expression method and their training technique, also wish many actors and actresses could find helpful in their acting training.

• 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 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.

• Genomics & Informatics
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• v.10 no.4
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• pp.234-238
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• 2012

Genetic epidemiology studies have established that the natural variation of gene expression profiles is heritable and has genetic bases. A number of proximal and remote DNA variations, known as expression quantitative trait loci (eQTLs), that are associated with the expression phenotypes have been identified, first in Epstein-Barr virus-transformed lymphoblastoid cell lines and later expanded to other cell and tissue types. Integration of the eQTL information and the network analysis of transcription modules may lead to a better understanding of gene expression regulation. As these network modules have relevance to biological or disease pathways, these findings may be useful in predicting disease susceptibility.

• Molecular & Cellular Toxicology
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• v.3 no.4
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• pp.231-237
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• 2007

Exposure to DNA-damaging agents can elicit a variety of stress-related responses that may alter the expression of genes associated with numerous biological pathways. We used 19 k whole human genome chip to detect gene expression profiles and potential signature genes in human normal hepatocytes (THLE-3) by treatment of five direct acting mutagens, furylfuramide (AF-2), N-nitroso-N-methylurea (MNU), methylmethanesulfonate (MMS), 4-nitroquinoline-N-oxide (4-NQO) and 2-nitrofluorene (2NF) of the $IC_{20}$ concentration for 3 h. Fifty one up-regulated common genes and 45 down-regulated common genes above 1.5-fold by five direct-acting mutagens were identified by clustering analysis. Many of these changed genes have some association with apoptosis, control of cell cycle, regulation of transcription and signal transduction. Genes related to these functions, as TP73L, E2F5, MST016, SOX5, MAFB, LIF, SII3, TFIIS, EMR1, CYTL1, CX3CR1 and RHOH are up-regulated. Down-regulated genes are ALOX15B, xs155, IFITM1, BATF, VAV2, CD79A, DCDC2, TNFSF8 and KOX8. We suggest that gene expression profiling on mutagens by toxicogenomic analysis affords promising opportunities to reveal potential new mechanistic markers of genotoxicity.

• Journal of Distribution Science
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• v.18 no.10
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• pp.77-87
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• 2020

Purpose: This study was done to analyze the effect of supervisor-focused impression management behavior of the airline cabin crew on perceived customer empathy. It focused on verifying dual meanings of the crew's emotional expression divided into surface acting and deep acting. Research design, data and methodology: The survey was conducted on cabin crews of two major Korean airlines. The reliability and validity of each variable used in the questionnaire were verified. Then, each hypothesis was analyzed through multiple regression analysis. Results: Firstly, the crew's supervisor-focused impression management behavior had a significant effect only on surface acting of the crew's emotional labor behavior. Among the crew's supervisor-focused IM behaviors, verbal IM behavior had a greater influence on surface acting than non-verbal IM behavior. Secondly, there was no relationship between the crew's supervisor-focused IM behavior and the crew's deep acting. Thirdly, the crew's emotional labor behavior (surface acting & deep acting) had a significant effect on perceived customer empathy. Fourth, the crew's deep acting had a greater influence on perceived customer empathy than surface acting. Conclusions: Cabin crews receive double evaluation from their immediate supervisors and customers. As a result, it was confirmed that the crew's supervisor-focused IM behavior, the crew's emotional labor behavior, and perceived customer empathy were connected process.