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Jounal of Korean Theatre Education

  • : 한국연극교육학회
  • : 예체능분야  >  연극영화
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수록정보
수록범위 : 1권0호(1997)~42권0호(2022) |수록논문 수 : 375
연극교육연구
42권0호(2022년 12월) 수록논문
최근 권호 논문
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This paper is study on aesthetic of directing which composes sensuous Image centered on < Dante divine comedy- Part Hell >, < The Brothers Karamazov >, < Tolstoy's confession, conversation with Anna Karenina > from the perspective of empirical knowledge an approach of performance studies, Ethnoscenology.
This researcher's directing aesthetics uses the sensuous image created by the state formativeness of materiality that emphasizes theatricality above all else. This theatricality is created with the performative state at the center. In other words, it gives the relationship between these elements and becomes a subject that creates sensuous images through it. This also means pursuing theatricality that is differentiated from visual arts.
Perhaps this researcher's directing aesthetics can also be expressed in the term 'play of theaterism', which mobilizes all theatrical language. However, the use of these elements does not reveal the characteristics of synthesis of art or the totality like total art of Richard Wagner. It is melted by the ability that embodies the state of existence on the stage as a performer and is born as such a image.
Therefore, in the aesthetics of this director, first of all, how to use the existence of the body of the present being on the stage? How will Dasein on stage merge various materiality as a directing language into the performativeness of the body so that it can reveal mental materiality? How does the state of formativeness of materiality make the human mind and meaning sensuous? How can sensuous images realize the humanities of the body that can touch the senses of the body that reveal the archetypal instincts of the audience? The aesthetics of this directorto is challenged by theses questions.
In the end, 'theatricality' can be seen as a human-centered characteristic of theater in which actors, who are present on the stage, can create living traces of human existence, and can create the power of human existence. It is given a task that constantly researches the training methods for performer as a Dasein on the stage.

KCI등재

저자 : 함현경 ( Ham Hyun-kyoung ) , 조준희 ( Cho Joon-hui )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 42권 0호 발행 연도 : 2022 페이지 : pp. 41-74 (34 pages)

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This study aims to clarify that the body-centered theater education can contribute to the manifestation of creativity by studying the educational meaning of the body in the context of 'imagination through the body' of theater education. To this end, first, with Merleau-Ponty's body philosophy, the essential characteristics of the body reconsidered in theater education are the body as a subject of perception, and the being-to-the-world with orientation that is from being in the world to the world. In other words, we could see that the body which can create our own life is our fundamental way of being. With a theoretical basis of this concept of the body, the meaning of imagination by the body was analyzed, focusing on the process of 'making improvisation' in theater education. Imagination by the body is an integration of imagination and perception, not dichotomous division, so the meaning of the body as a subject of imagination can be newly understood. In addition, it can be seen that the imagination by the body is not separated from reality, but is complementary to the reality that it affects, and so it is expressed as the orientation of the body, which is the being-to-the-world. Based on this understanding, I examined the implications of the realizing imagination by the body in theater education. The realization of imagination by the body in theater education allows students to recover their bodies as perceptual subjects by the restoration of the world in which they exist, and to choose and create their own lives independently. As a result, the continuous experience of realizing the being-to-the-world of the body can create a virtuous cycle, facilitating the body's transition expressing creativity. In other words, the educational meaning of the body in theater education can be found from the relationship that realizes the body which is a unique human way of being and also can express creativity. Through this study, it is expected that a new creative theater education methodology centered on the body will be studied by improving the educational meaning of the body in theater education.

KCI등재

저자 : 임일진 ( Im Il-jin )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 42권 0호 발행 연도 : 2022 페이지 : pp. 75-101 (27 pages)

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The distinction between modern and contemporary theater does not depend solely on a specific time or historical event. It is because theatrical people, passing through the latter half of the 19th century, called all the existing (theatrical) materials to the stage without clear distinction, in the position of rejecting the modern and the later aspects of modernism and its phenomenon. Through (avant-garde) experiments, various art media such as dance, art, theater, film, and music have re-established new aesthetic relationships beyond traditionally stylized genre boundaries. The tendency to transcend boundaries between art genres is consistently shown in contemporary art - clearly distinct from contemporary art. The trans-boundary nature of art gave the right to no longer be faithful to the grammar of each genre. This summons not only the producers, the subject of artistic activity, but also the audience, the audience, to the center of the performance. Returning to the category of theater, today's stage is freed from conveying, reproducing, or indicating the truth that already exists outside of performance, that is, away from meaning and symbolism, and with respect to artistic phenomena, the interaction and effect of both actors and audiences. He is developing a new aesthetic of sympathy and communication, paying attention to emotions, influences, and sensory experiences. This is not limited to the field of silk art, but is a phenomenon that appears throughout culture in the ideological context of postmodernism in the late 20th century.
Scenography, which developed mainly from ballet, a classical dance from dance, showed an unconventional scenography that maximized aesthetic completion and creativity by breaking away from the existing realism dance stage through Pina Bausch's stage. In Pina Bausch's world of work centered on people and nature, the function of scenography is absolute and creative. Focusing on Pina Bausch's relationship between her dance and scenography, it will be possible to explore new possibilities in expressionism and symbolic visual effects. Pina Bausch explores the role and function of scenography in Pina Bausch's works, which seeks to try out genres while breaking away from conventional expression, blending all artistic genres, and by finding and analyzing cases where scenography is implemented on the actual stage as an independent dance language. It aims to examine the significance of the stage art of the scenography of the importance of scenography in the Pina Bausch performance will enable us to discuss in more detail the meaning and direction of contemporary dance that can be considered in the performing arts, and the deconstruction and combination of genre characteristics will suggest a new expansion of scenography. Studying Pina Bausch's scenography as an aesthetic point of view while approaching and analyzing the meaning and essence of innovative scenography shown by Pina Bausch of Wuppertal Tanztheater in the performing arts including theater as well as modern dance in Germany from the perspective of stage art. Thus, the characteristics and contents of a dynamic yet minimal expressionist space composition will be investigated. Pina Bausch's stage art is a new genre of contemporary dance in the 20th century, based on a new expressionist dance drama that presents a new paradigm of dramatic space. It is a dramatic form. The most striking feature in the formal aspect of New Expressionism is that it acquires multi-faceted symbolism through various expression strategies. The multifaceted stage space that Pina Bausch pursues, including formal beauty and symbolism, and transformation of theatrical space through body movements, can be understood through the consideration of Neo-Expressionist stage art.
The spatial composition of the Neo-Expressionist dance drama, along with the dance script, is realistic and provides the audience with something to imagine. It refers to a form of performance combining dance, dialogue, singing, traditional theater, props, and costumes, giving priority to content rather than form. In other words, dance as a narrative play emphasizes theater and scene elements, and as a fusion of dance and theater that pursues a dramatic means of expression, it represents the uniqueness of the dance form and the aesthetics of dance.
The role and function of the scenography of non-genre characteristics such as dance, art, music, and theater that can be seen in Pina Bausch performances are analyzed through specific performance cases of Pina Bausch, and through this, New Expressionism in German Expressionist Dance and Art We looked into how style works and functions through the works of stage artists Rolf Borzik and Peter Popst, who were in charge of Pina Bausch's scenography.

KCI등재

저자 : 장우현 ( Jang Woo-hyeon )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 42권 0호 발행 연도 : 2022 페이지 : pp. 103-132 (30 pages)

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Etude, the core of Stanislavsky's system, has been studied by many researchers and applied in the field. Considering that the Stanislavsky system and etude are methodologies with scientific characteristics in which structure and steps are presented, exploratory research is needed to understand etude and develop a new training model. Therefore, the goal of this study is to program the etude as well as the basic training concepts of acting education into the basic elements of the etude and program them as an integrated process between the elements.
Therefore, in this study, the basic elements of the proposed eight etudes of concentration, relaxation, imagination, relationship, self-awareness, adaptation, evaluation, and exchange were re-categorized, and these concepts were newly structured by connecting them to the theory of counseling psychology. In addition, a training model for each element was presented, and students' feedback on the systematicity and accessibility of the training model was confirmed through lecture examples. It is hoped that the results of this study will be understood as a new approach to etude and will serve as empirical data for active research on related topics.

KCI등재

저자 : 김가람 ( Kim Garam )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 42권 0호 발행 연도 : 2022 페이지 : pp. 133-153 (21 pages)

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This research attempts to analyze the performativity of theatrical languages in post-drama by the philosopher Wittgenstein's theory of “Language game”. Since Hans Thies Lehmanna established the concept of post-drama in 1999, discussions have been active on the performativity. Based on Wittgenstein's book 『Philosophical Investigations』, this thesis seeks to study how post-drama is creating a new language game with audiences.
Furthermore, it will study how the post-drama language, which focuses on performativity, has a common meaning among its members. Theatrical languages of post-drama are not limited to dictionary meanings, but rather expand the language's expression in its own way. The audiences understand the meaning of the actors' actions through their senses and it creates a “public language” by bringing out rules among the members who exist together in the space. In conclusion, post-drama does not rule out the use of language, but produces results that emphasize the “Performativity of language” by expanding its meaning more actively. Through this process, the language standardization and violence of traditional narrative structures are disbanded, and the original meaning is expanded to guide changes in the audience's lives.

KCI등재

저자 : 조만수 ( Cho Man-soo )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 42권 0호 발행 연도 : 2022 페이지 : pp. 155-176 (22 pages)

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Since the 1970s, the aesthetic attempt to theatrical performance going outside the walls of the theater has developed into a new genre called 'street theatre' with the support of the cultural democracy policy of the Mittérrand Party government. Through the 1980s, street theater has been structured and institutionalized, and today France has become one of the countries where street theater is most loved by the public.
Street theater aims to change the experience of the world rather than the radical tendency to change the world in the 60s and 70s. It is to make a world of dreams and a poetic world unfold in the street, the space of everyday life.
The most important thing in street theater aesthetics is to define the space called 'street'. The street is “a social space and a public space, a space where each individual accepts and welcomes the existence of others beyond their own domain. In this public space, the audience is not an individual. Street theater does not express the inner side of an individual. There is no pre-prepared audience to see a play on the street. There is a passant or population on the street. The aesthetic attempt of street theater is to make this population the public. Thus, Michel Crispin defined the audience of street theater as public-population.
After all, street theater is a mutual communication in which the audience as a group experiences urban life in a new way in a public space. The audience public as a group forms a 'Adventure Community' that dramatizes daily life.

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