• 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.37
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• pp.365-389
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• 2018

This research aims to study Michael Chekhov's acting techniques scientifically, because his techniques has been studied only theoretically or empirically. Especially, this study focuses on 'imagination' and 'Psychological Gesture' from the perspective of cognitive psychology. Chekhov thought 'imagination' as the basis and core of all the works of acting. In cognitive psychology, it is called as 'imagery' and means 'a representation of the mind of the object not communicated by the sensory organs currently'. This study starts with defining imagery and takes a brief look at the features and kinds of imagery. Then the researcher will prove scientifically the possibility of training acting using imagery as Chekhov's assertion. For the proof of the validity of imagery, we'll look for the theoretical evidences-functional equivalence hypothesis, psychoneuromuscular theory, symbolic learning theory, psychophygiological information processing-and experimental ones-measurements of cerebral blood flow or event-related potential, experiments with fMRI(functional magnetic resonance imaging) or PET(positron emission tomography). As a result, we can see that imagery is functionally identical to perception and improves fulfillment of cognitive and physical tasks. As proving physical changes can draw out psychological changes(feeling) on the medium of imagery, we can also see the validity of Psychological Gesture. From the above research, even if Chekhov developed the acting techniques only on the basis of his experience, his techniques can be thought as having scientific validity. Though insufficient, this study can be a help for actors or students as they using Chekhov's techniques.

• The Journal of the Korea Contents Association
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• v.12 no.12
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• pp.93-102
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• 2012

This study started from the project that make the record of legendary actor's heritage in Korea. This research was focused on Sung Hee Beck's artistic footprint which was almost same steps as the Korean modern play of the centennial theater history by reviewing her; domestic royal actor; acting techniques which learn from real acting field by herself and her career. Her life shows constant resistance for the social negative reputation of the acting field, and her frantic effort to Korean play and actor's phase. Above all, this passionate actor's life contributes to society, and improve the Korean theater through 70 year's her experiences with countless roles in around 400 performances and her own valuable acting techniques. To look up legendary actress of our time, Sung Hee Beak's life gives us a chance to reflect art of acting which emphasizes its fundamental.

• International Journal of Advanced Culture Technology
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• v.9 no.1
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• pp.58-63
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• 2021

This research aims to reconsider the necessity of an alternative way(s) for contemporary actor training and acting in discussing and articulating Diderot and Suzuki's concepts and approaches for acting/training. First of all, the physical body, assumed and conceptualized by Diderot is beyond our control by means of a type of radical body/mind dualism, and is based on the concept that body and mind are separate. In contrast, Suzuki's notion of acting/training is raised by his concern about the role of an actor's body in the constitution of an actor's bodily experience against the imitation of the West-oriented theatre/acting/training. The descriptions of the two theatre artists' notion of acting/training gives us insight into the place and role of contemporary theatre as a practical root to encounter and communicate between a doer and a spectator where an actor's body must appropriately be attuned and cultivated towards the cultivation of bodily attributes which are foundation but usually neglected by actors/directors/practitioners particularly in Korea. Especially, misunderstanding of a specific training sources/approaches, namely 'scientific system' and the 'method' have taken us away from the potential possibilities of the lived oneness. Here, the 'possibility' refers to the primary bodily functions within a specific context or being in the here and now rather than attempting to copying, imitating and/or adapting a specific cultural source(s)/approaches/techniques as we have faced with through the previous century. We reconsider and argue that a potential way to correspond the nature of theatre/acting/training is that how to meet the demand of contemporary spectators which in turn intensifies an actor's stability, sustainability and hopefully professional identity in this contemporary era.

• 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 Magnetics
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• v.20 no.2
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• pp.193-200
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• 2015

Direct-acting solenoid valves are used in the automotive industry due to their simple structure and quick response in controlling the flow of fluid. We performed an optimization study of response time in order to improve the dynamic performance of a direct-acting solenoid valve. For the optimal design process, we used the commercial optimization software PIAnO, which provides various tools for efficient optimization including design of experiments (DOE), approximation techniques, and a design optimization algorithm. 35 sampling points of computational experiments are performed to find the optimum values of the design variables. In all cases, ANSYS Maxwell electromagnetic analysis software was used to model the electromagnetic dynamics. An approximate model generated from the electromagnetic analysis was estimated and used for the optimization. The best optimization model was selected using the verified approximation model called the Kriging model, and an optimization algorithm called the progressive quadratic response surface method (PQRSM).

• 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.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.12
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• pp.41-52
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• 2016

Prescription, pickup, and acting information from the ward are stored in a hospital database, and can be accessed and retrieved by the relevant departments. Frequent inquiries from many departments can cause a great load on the hospital information system. When the nursing and care services are integrated, the real-time pickup and acting tasks are also increased, which may lead to an increase in database inquiries, thereby increasing the amount of information being transferred. To effectively solve this inefficiency problem, we aimed to develop a nursing and care integrated information system that excludes database inquiries and incorporate a method that transmits pickup and acting information in real-time. Because the new system increases the workload and responsibility, we developed a ward acting dashboard so that every ward employee can determine all the acting situations of patients in real-time to improve the quality of services. We designed a database by concentrating on the pickup and acting business procedures, and applied real-time web techniques to enable pickup and acting information to be delivered instantly. Through our implementation, we were able to reduce the inquiry time and transmission amount significantly compared with the existing method.

• Proceedings of the Korean Geotechical Society Conference
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• 2003.03a
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• pp.273-280
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• 2003

Tunneling in difficult geological conditions is often inevitable especially in urban areas. Ground improvement and reinforcement techniques are often required to guarantee safe tunnel excavations and/or to prevent damage to adjacent structures. The steel pipe-reinforced multi-step grouting method has been recently applied to tunnel sites in Korea as an auxiliary technique. In this study, the face stability with steel pipe-reinforced multi-step grouting was evaluated by simultaneously considering two factors: one is the effective stress acting on the tunnel face calculated by limit theorem and limit equilibrium method; the other is the seepage force obtained by means of numerical analysis. The study revealed that the influence of the steel pipe-reinforced multi-step grouting on the support pressure in dry condition is not significant while there is relatively a large amount of reduction in seepage forces by adopting the technique in saturated condition. The effect of the anisotropy of permeability on the seepage force acting on the tunnel face was also estimated by conducting the coupled analysis. It was found that a higher horizontal permeability compared with the vertical one causes reduction in the seepage force acting on the tunnel face.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.45-54
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• 2021

Jeong Sun-Ah built up her performance career for twenty years with bold and energetic acting and solidified her status as a leading actress of Korean musical since her debut. To benefit from the value of her experience this study performed an in-depth interview with her, applying the Theory of "Projection" and "Back-projection", which are the psychological principles of acting, and derived "acting(entering the roles)" and "de-acting(leaving the roles)" techniques. As result, Her acting mechanism involved emptying her ego, embodying a persona by projecting the role created by intensive exploration of materials like previous performance, film of the same title, original novel, and script, and then getting the ego back by back-projecting through dynamic activities such as overseas travel and dance. She pre-studied the roles by physically visiting sites that are important to the characters. She was unique in that she pursued a difference by changing vocal trainers for each musical production and undertook more intense physical training than vocal practice to achieve powerful singing performance. In most of her works (75%), she suffered from aftereffects such as depression, narcissism, hysteria, and insomnia due to disorder caused by breaking away from the roles. However, she relied on self-help and alternatives are needed in the future such as reinforcement of expert counselling. Jeong Sun-Ah appeared on an average of 1.6 productions per year, practiced for an average of 1.7 months, and performed for an average of 3.9 months with an average of 100 days of break between productions. Her performance record from this research demonstrates her constant preparation and passion, as well as the know-how of reserving and distributing energy. So, it has a valuable implications for acting education and self-management of actors and actress.