• 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.

• The Journal of the Korea Contents Association
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• v.8 no.6
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• pp.130-139
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• 2008

The purpose of this study was to develop psychological skill training program for actor with considering the ecological validity of social, cultural environment in Korean but also examine the effect of psychological skill training through psychological counseling and field study to decrease stage-anxiety. The experimental group were 2 actors, who were selected by purposive sampling. The psychological skill training program to decrease stage-anxiety for actor was composed of five stages, 12times and categorized as orientation, breathing regulation, progressive relaxation training, group counseling, heart rate bio-feedback training, self concentration, routine training, behavior therapy & self reinforcement, image training. The effects was examined on stage performance anxiety scale, psychological counseling and observation of experts. As the result of applying the psychological skill training to decrease stage-anxiety, cognitive state anxiety, somatic state anxiety were decreased. According to the result of counseling and observation, they were changed affirmative on self confrontation, harmony and rapport between actor and object. This result demonstrated the psychological skill training & counseling to decrease stage-anxiety for actor were effective.

• The Journal of the Korea Contents Association
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• v.12 no.1
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• pp.234-243
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• 2012

The purpose of this study was to develop psychological skill training program for actor with considering the ecological validity of social, cultural environment in Korean but also examine the effect of psychological skill training through psychological counseling and field study to decrease stage-anxiety. The experimental group were 2 actors, who were selected by purposive sampling. The psychological skill training program to decrease stage-anxiety for actor was composed of five stages, 12times and categorized as orientation, breathing regulation, progressive relaxation training, group counseling, heart rate bio-feedback training, self concentration, routine training, behavior therapy & self reinforcement, image training. The effects was examined on stage performance anxiety scale, psychological counseling and observation of experts. As the result of applying the psychological skill training to decrease stage-anxiety, cognitive state anxiety, somatic state anxiety were decreased. According to the result of counseling and observation, they were changed affirmative on self confrontation, harmony and rapport between actor and object. This result demonstrated the psychological skill training & counseling to decrease stage-anxiety for actor were effective.

• The Journal of the Korea Contents Association
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• v.21 no.9
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• pp.136-148
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• 2021

In this study, the theoretical principle and structural practice of Estill Voice Training model that enables independent control of voice organs in the actor's acting art using voice as a medium of artistic expression. Its purpose is to explore the positive utility that can be applied to operation. The research on the speech science methodology that controls the differences in speech output due to the principle of the generation organ is a reality that has not been actively introduced in Korea compared to the existing actor's speech training that encompasses both the mind and the body. Voice can guarantee the accuracy and stability of operation when an understanding of our body is preceded based on anatomical physiology as well as contribute to the characterization of the character's phonetic character an element of character creation. Considering the training model through proprioception in actor voice training has practical value and alternative significance that the actor can be sought as a principle and practical methodology in the process of generating a series of target sounds.

• 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.

• The Journal of the Korea Contents Association
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• v.20 no.3
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• pp.345-355
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• 2020

This study examines the effect of goal setting training during psychological skills training on improving the happiness of actors using a single case study design. The subject of this study was a famous actor in his late 40s who had received personal psychological training from this researcher, a sports psychological counselor, to strengthen his psychological capabilities. The goal setting training program consisted of 8 sessions of 60~90 minutes each. For the purpose of this study, pre and post tests were conducted using the Oxford Happiness Scale developed by Argyle (2005), and in-depth interviews were also conducted. As a result, goal setting training had a positive effect on improving the happiness of actors.

• The Journal of the Convergence on Culture Technology
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• v.8 no.3
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• pp.229-238
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• 2022

Through the converging concept of 'an actor doctor,' this paper deals with an actor and its double, the emotional care giver. In the first place, actor doctors have appeared in the medical scene as hospice volunteers. But, as a developing project, the concept of 'an actor doctor' leads to a professional emotional specialist who works at hospitals during the day and performing at the stage at night. In our contemporary culture, our emotional life is threatened by various social and environmental stimuli. The role of 'an emotional specialist' in our everyday life and hospitals is very essential to our healthy life. Against the backgrounds of the high emotional intelligence and the systemic training, actors are qualified to embody this social vision. From the perspectives of performance studies and cognitive studies, this paper tries scientific explanations of the role, the function, and the techniques of an actor doctor. By doing so, this paper seeks to build a scientific foundation for an actor doctor as an emotional specialist.

• 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.

• The Journal of the Korea Contents Association
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• v.22 no.2
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• pp.647-664
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• 2022

This study explores the possibility that the figure of the Estill Voice Training model, which is based on speech science, can contribute to the expansion of vocal expertise in the acting art where an actor creates a character. The purpose of this study is to examine the usage plan. The training model through the fluidity and structural functionality of the voice production organ is differentiated from the existing voice training that focuses only on the results of sound due to its ambiguous abstraction. Developing the voluntary coordination ability of the occipital region and vocal tract, such as False Vocal Folds, Cricoid Cartilage, Velum, AES, and Anchoring, has scientific efficiency that makes it easier to produce artistic target sounds, and it is a technical skill that can creatively overcome the functional limitations faced by actors. It can be used as a methodology. The Estill model Figure, which is a principle training for harmony and coordination between the elements of voice production, has a practical value that can be used as an alternative training model for the voice education of actors in Korea, where images and abstractions are the mainstream.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.77-90
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• 2020

Today, the transition to the era of "post-drama" brought a change in the position of text, which was considered the center of the play, and the expansion of the role of actors. After entering the post-drama era, the actor no longer transforms himself into "delivering" the fixed meaning of text, but "producing" the valid meaning of "now, here" meeting the audience. In other words, actors in the post-drama era have expanded their roles as "performers" who can become the subject of narratives themselves and create various theatrical languages. Despite the expansion of the actor's role, verbal-centered actor training through text, which still forms the basis of acting education, does not satisfy the newly changing contemporary theatricality and creates a gap between education and the field. Therefore, the researcher argued that non-verbal-centered acting education needs to be discussed, and highlighted the actors' physical training on the "empty" side. The researchers first compare and analyze the characteristics of modern theater people's training methods from an "empty" perspective. Based on this, researchers about the meaning and direction of the training "empty". Furthermore, the study concludes with an emphasis on the direction of acting education in the post-drama era, which is free from language that can respond to stimuli and interact freely.