• 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.14 no.8
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• pp.103-116
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• 2020

This paper starts with the recognition of the problem of the need for a link between text-centered acting and body-centered acting. This study is focused on Brecht's theory of acting to overcome loss of presence by repetition which have been discussed many times by not only actors, but also acting educators. Brecht's acting theory has already been mentioned by many researchers as an alternative to conventional actor training. However, not many studies have been conducted on practical applicable methods. The purpose of this study is to provide the basis for the actual practice of Brecht acting and possibility that his acting theory can serve as a link between text and body-centered acting theory. As a research method, we first conduct theoretical considerations on the concepts and limitations of text-centered representational acting and body-centered post-drama acting. Then distinguish between text and body-centered acting tools among Brecht's epic theatre, to summarize the terms and concepts he uses and to identify the existing effects he reaches while acting. Finally, this paper proposes an teaching model that transforms and develops Brecht's acting theory through the writer's teaching experience. However, there are limitations in generalizing its effectiveness because this study is based on the writer's experience. We hope that further research will help the diversity of acting education by developing in-depth insights on Brecht acting theory and various models of acting teaching methods.

• 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.

• Korean Journal of Child Studies
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• v.37 no.4
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• pp.169-179
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• 2016

Objective: This study investigated the moderating and mediating effects of flourishing among child-care teacher's emotional labor and burnout. Methods: The participants included 243 child-care teachers in daycare centers in Jeju. To verify moderating effect of flourishing in relation between surface acting and burnout, 2-way ANOVA was used. To verify mediating effect of flourishing in relation between deep acting and burnout, the hierarchical regression and bootstrapping analyses were used. Results: First, the surface acting of emotional labors showed significantly positive effect with burnout and the deep acting of emotional labors shows significantly negative effect with burnout. And the surface acting of emotional labors shows significantly negative effect with flourishing and the deep acting of emotional labors shows significantly positive effect with flourishing. Also the flourishing shows significantly negative effect with burnout. Second, it was revealed that the flourishing plays a role as moderator in relation between surface acting and burnout. Finally, it was revealed that the flourishing plays a role as mediator in relation between deeping acting and burnout. Conclusion: This study illustrates that flourishing acts as differently in relation to emotional labor (surface acting/deep acting) and burnout.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.47-55
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• 2020

In this paper, acting of Meryl Streep, who was recognized as a method actor in Hollywood, was analyzed, and this paper tried to find out how Meryl Streep utilizes the American acting method to improve her acting skills. To do this, we first looked at the concepts and theories of the American acting method, and analyze the acting of Meryl Streep through three films: "Sophie's Choice", "The Devil Wears Prada", and "The Iron Lady". Analysis results show that Meryl Streep utilizes all of the American acting methods, such as "Emotional memory", "Imagination", "Given Circumstance", and "Repetition" without any particular distinction. Meryl Streep uses not a specific acting theory, but selects appropriate training for herself. According to the analysis of this paper, we can understand the acting method that Meryl Streep uses, and shows some way to develop the acting training. The result of this paper can be used to the acting training, and it will be an opportunity to follow in the footsteps of one of the greatest actress.

• 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.

• The Journal of the Korea Contents Association
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• v.15 no.7
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• pp.57-74
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• 2015

This paper will concentrates on martialarts acting system. I will sugest a kind of actor's training system for the safe method of action acting. In this study I solve the following problems. First, what is main factors to interfere with performer to act and how do they get rid of factors. Second, what is very economic and effective challenge to develope the new acting system for action acting performers. For this discussion I studied four parts. The first, I gives purpose and direction of the safe for martialarts actor. The second, I traces the development of contemporary idea of acting such as Stanislavsky and Meyerhold. The third I introduces Korean martialarts training system. The last I conclude which refer to effective action acting by result of training 'Korean traditional martialarts acting system'.

• The Journal of the Korea Contents Association
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• v.13 no.7
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• pp.70-79
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• 2013

The film language is distinguished roughly according to shot angles and size and camera movement. The film language is what the performer should be well-acquainted with in camera acting. Since the most important characteristics of acting in front of the camera lies in being with the camera, the relationship between the camera and the performers is basically mutual communication and is the inseparable relationship in which they should be well acquainted with each other. Understanding of diverse film languages for acting in front of the camera enables the performer to adapt to the media quickly and to concentrate on acting. Performance changes according to the media or environment in which acting is performed. For a good performance, the performers should be able to appropriately express their own acting according to the characteristics of the space or the media in which they do performance. Acting in front of the camera is clearly distinguished from acting on the stage in the aspects of either media characteristics or acting. With the manifestation of extemporaneousness and the discovery of the performers' personality to the extent possible, performers themselves proceed with creative works in collaboration with the director in acting in front of the camera and can attain the development of acting in front of the camera.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.275-286
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• 2020

In this paper, through a questionnaire to currently active actors, we sought to understand their understanding of American acting methods and whether there are any particularly effective or ineffective acting training methods among various method related to this. For this, pre-questionnaire was conducted to ask about their understanding of American action methods, and post-questionnaire was conducted to find effectiveness of American acting method and effect of individual method after performing simple acting training with four representative theories of American action methods According to the analysis, the actors surveyed were not familiar with the American acting method and want to systematic methods in acting training. All of the acting training through the American acting method were effective, especially Stella Adler's imagination was the most effective method. The least effective method was Sanford Meisner's repetition. The results of this study can be used as fundamental data for introduction and utilization of American acting method in domestic acting training.

• 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.