• Title, Summary, Keyword: 스타니슬라브스키

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Usefulness of Stanislavski's 'Physical Action' as a Method to Approach to Acting (연기접근 방법론으로서 스타니슬라브스키의 '신체적 행동'의 효용성)

  • Han, Jin-Soo
    • The Journal of the Korea Contents Association
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    • v.10 no.2
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    • pp.224-230
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    • 2010
  • The method to approach to acting today is based upon Stanislavski's initial theories. This method that emphasizes actors' inner world makes actors nervous and frustrated over again. Watching actors' agony, Stanislavski tried to find a fine method all his life that actors could approach to acting more easily. He, at last, created a new method in the sunset of his life, so called physical action, which approaches to emotion through action. However, it has not been accepted widely because it was transmitted to the western world too late. Emotion is not the thing that everyone can handle freely. But everyone can handle action easily. It can, therefore, be an excellent method to reduce actors' agony. This study tried to experience Stanislavski's physical action with a text and to find out how it works as an acting method. As a result of it, Stanislavski's physical action proved to be a valuable method to complement the existing one, and also to have many other positive effects on the natures of acting.

Boundary between Stanislavsky's and Chekhov's Acting Method (스타니슬라브스키 연기시스템과 미하일 체홉 연기테크닉의 경계)

  • Park, Ho-Young
    • The Journal of the Korea Contents Association
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    • v.9 no.10
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    • pp.168-175
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    • 2009
  • Stanislavsky's acting system is based on the sensory memory of an incident that an actor has actually experienced, but Michael Chekhov insisted that in relation to the acting technique of actors, they should find the virtual and unreal external stimuli caused by emotion and imagination irrespective of their personal experience. As such, Stanislavsky's acting system and Michael Chekhov's acting technique are very different in terms of the acting method used. In actual acting, however, the acting system and the acting technique should have a close relationship. Any acting performed by an actor cannot be totally psychological or physical because the body and the mind cannot be separated. It is for this reason that all kinds of training should be both psychological and physical training and should not be conducted only mechanically. Acting is the ability of actors to imagine the virtual or fictitious reality and to express their indignation ability onstage. As actors stimulate and train their own fantasy and imagination, they can greatly improve their ability to embody or express the inner world of the characters they are portraying in a play.

Usefulness of Meyerhold's 'Biomechanics' as an Alternative for a Method of Actor Training I - focused on the background and theoretical principles of 'Biomechanics' (배우 훈련 방법의 대안으로서 메이어홀드 '인체역학'의 효용성 I -'인체역학'의 형성 배경과 이론적 원리를 중심으로)

  • Cho, Han-Jun
    • The Journal of the Korea Contents Association
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    • v.14 no.5
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    • pp.95-106
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    • 2014
  • Meyerhold's 'Biomechanics', which germinated from a critical point of view towards naturalism theatre, is a primary acting method that attempted to approach to acting in a material way, along with Stanislavski's 'System'. However, not only for a reason of the political background that all study on Meyerhold were forbidden in Russia but also for a reason of universalization of Stanislavski's 'System' through the world mutated into American acting method, it is a fact that Meyerhold's 'Biomechanics' is not actively utilized in a field of actor training at the present day. Especially, in case of actor training in Korea, 'Biomechanics' is also misunderstood as a method only focused on an actor's physical approach. Therefore, a purpose of this study is to explore usefulness of 'Biomechanics' in order to practically apply it to the actor training through correct understanding.

Method of an Effective Training Program For Film Acting and Directing (영화 연기와 연출을 위한 훈련 프로그램 방법)

  • Lee, Jeong-Gook
    • The Journal of the Korea Contents Association
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    • v.10 no.9
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    • pp.155-175
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    • 2010
  • The purpose of this thesis is to introduce the alternative method of the new training program for film acting and directing. Recently in Korea, acting in movies has become a trend and broadcasting still depicts reality. But men of the theater is usually privileged getting the most acting education offered by the theater training program. They also is hardly teach about acting's directing for film directors. So I thought of establishing a new training program for film acting and acting's directing. I made two short films , that I had practical training program for film acting as practical text. This program applied partially 'Atude' that Stanislavsky devised for theater acting practice, and referred to 'Method Acting System' that Lee Strasberg made for film acting at the Actors Studio. Another main point of this program is camera use. That training program can be attended not only by actors but also by director and film staff. Through this thesis, I wish to prove my new training program for film acting and acting directing. The focus of this training is to target a better execution according to the group you belong to whether amateur group, associate professionals, professional actors.

Usefulness of Meyerhold's 'Biomechanics' as an Alternative for a Method of Actor Training II - Focused on the Actual Training Program of 'Biomechanics' (배우 훈련 방법의 대안으로서 메이어홀드 '인체역학'의 효용성 II - '인체역학'의 실제 훈련 프로그램을 중심으로)

  • Cho, Han-Jun
    • The Journal of the Korea Contents Association
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    • v.14 no.11
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    • pp.89-101
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    • 2014
  • The 'Biomechanics', which was devised to systematically train actor's material and medium, is evaluated as the first approach to an acting method in earnest with Stanislavsky's 'System'. Especially, due to the psycho-physical features of 'Biomechanics' that helps an actor to master a mechanism of human being such as stimulus, impulse and reaction, it was valued as an alternative for a naturalistic acting method that was excessively focused on the actor's emotional expression. However, the 'Biomechanics' is not utilized with activity in a field of actor training in Korea compared with Stanislavsky's 'The Method of Physical Action' which has a similar starting point as the psycho-physical feature. It is because of a political reason that a study for Meyerhold was officially forbidden in Russia until the mid-twentieth century. It is also because of a limit that incorporeal features of the 'Biomechanics' could not but be explained only by publications, especially translation. In this sense, as part of seeking for a new alternative of acting methods in Korea, this study will explore a possibility of applying the 'Biomechanics' to the actual actor training field through correct understanding of it.

1960's Acting Method of Experimental Theater (1960년대의 실험극 연기 메소드 연구)

  • Park, Ho-Young
    • The Journal of the Korea Contents Association
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    • v.9 no.11
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    • pp.184-191
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    • 2009
  • Ideas regarding acting among new theater groups In the 1960s can be summarized in two major trends. The first trend was characterized with the pursuit of identity in a play. The second trend was characterized with the pursuit of creating a play that strongly and passionately explores internal human reality. In their pursuit of the goal of the second trend, they shockingly and strongly destroyed anything by rising in revolt against the existing spatial language. They believed that acting beyond acting as pursued by Stanislavski is not to implant a new type of human, but to develop the self hidden within the actor or to remove the actor's mask. Based on such recognition, the first thing that actors have to do is to remove or break free from the shell or skin that surrounds them. Accordingly, they sought a method that helped them act while taking off their shell or mask during acting and finally got the answer from "improvisation." One thing with improvisation is its way of stimulating the unconscious world of the actors in order to allow them to strongly express the hidden instinctive emotion from deep within them.