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Jounal of Korean Theatre Education

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수록정보
수록범위 : 1권0호(1997)~40권0호(2022) |수록논문 수 : 363
연극교육연구
40권0호(2022년 06월) 수록논문
최근 권호 논문
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KCI등재

저자 : 이경성 ( Lee Kyung-sung )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 40권 0호 발행 연도 : 2022 페이지 : pp. 5-39 (35 pages)

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'Mourning' is an expression of the sorrow of the living over the death. Through mourning that is carried out in an appropriate period and form, the living gain the power to reflect on the meaning of life anew and return to their daily lives. Mourning can be divided into private mourning and public mourning or social mourning. While private mourning is a tribute to the loss in one's personal relationships, public mourning is triggered by an event or death that is worthy of collective mourning for a society as a whole. Social mourning performs the function of healing the collective trauma of the community and has a positive function of strengthening the solidarity of the members. Also, mourning for the dead shows the moral maturity of a society.
Performing arts have often been used as a space to express common mourning due to the nature of its form in which the audience and performers collectively face each other in one space. In Korea, after the Sewol Ferry incident in 2014, many theatres dealt with the theme of the Sewol Ferry incident in various kinds of approach. Those attempts in performances were recognized as a process of sharing sorrow with audiences and healing social trauma in the community.
Erika Fischer-Richter explained the communication in which the audience and performer experience one event and exchange energy within the performance through the concept of 'Performativity'. In the performance of 'Performativity' which reveals self-referential and constitutive aspects, the audience is not trapped in the passivity of having to interpret the signs sent from the stage, but creates meaning by giving and receiving influences within the 'Auto-formation feedback loop'. And in this process of constant exchange, both the audience and performers experience a transition to a new reality. These characteristics of performing arts create various artistic possibilities in which mourning rituals can be held in collective and also personal way simultaneously.
《Talking Of Her》(2016) in Korea and 《Elegy》(2015) in South Africa show how the performing arts fulfill the function of social mourning through artistic form. 《Talking Of Her》 shares the experiences of mourning with the audience by interviewing the mothers of the Sewol Ferry victims and relaying them back to the audience and uttering all the names of the 304 victims on stage. 《Elegy》 is a vocal performance to commemorate women who have been victims of misogyny in South African society, and has a form of linking the condolences with a voice without using any language. The formal strategy of creating an environment for mourning based on the physicality of voice and expression leads the audience to participate in mourning in their own subjective way. Based on this characteristic of 'Performativity', performing art can functions as a space where people can share and express social mournings mutually in various forms.

KCI등재

저자 : 김미현 ( Kim Mi-hyun ) , 최찬열 ( Choi Chan-yeoul )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 40권 0호 발행 연도 : 2022 페이지 : pp. 41-64 (24 pages)

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Theater of representation is, above all, words and language. This is a Theater subordinated to the text. Here, the focus is the writer who writes text. The director must be faithful to the writer's intention written in text. The director should visualize it on stage. And the actor must act to express the director's instructions. However, a text-oriented literary play, It's not a play that representation the meaning given by the dramaturge, It is a play as an art that a new meaning becoming by itself. It is necessary that new understanding of acting skills as a body activity
However, there were two major cultural upheavals in human history. At this time, an interesting philosophical concept directly related to the body emerged. These are opposing machine concepts which were proposed by Descartes and Deleuze(and Guattari), The subordinate relationship between the mind and the body seen in Descartes philosophy resembles the relationship between the writer or director and actor in a literature theater. The writer and director appear behind the actors as the subjects who control them. In contemporary play, they pay attention to the virtuality ability of the actor. "It is the special materiality of the body of motivated and constantly moving. In this way, the actor's actions directly affect the audience's body and permeate them.
Grotowski tried to return to his body before being captured by civilization through negative acting skill. Here and now, what's important is the power of nature wriggling through the body, in other words is the life. According to Deleuze's body theory, the actor's body consists of an actuality layer and a virtuality layer. Thus, the two-dimensions of the body work differently. However, Deleuze calls the body of the virtuality layer a 'body without organ'. This concept was taken from Artaud. Deleuze-Artaud's body without organ, In other words, the body that resists organic organization tries to escape of the fixed state of the organism and move on to the field of creation and change In this respect, it most clearly shows the implications of body in contemporary theater with the body of Grotowski-Merleau-Ponty. Artaud was a severely schizophrenic. However he thought that the schizophrenic was not just himself, but everyone who was obsessed with a particular habit, one particular way of life. And a theater changes the senses and bodily rhythms of those who are accustomed to old habits. Furthermore, he thought that a play would change lives itself. The human body moves in and out of the arrangement much more flexibly than any other body and does a deterritorialization movement. Thus, the first thing we should consider is the human body. Among them, it is definitely the body of an actor. This is because actors are the masters of transformation. In reality, during the performance, the actor becomes a Transformer. In Deleuze's terminology, Actors can be seen as monsters. The most symbolic representation a 'body' of Deleuze's concept of machine is actor-body.
In a performance, an actor's body has a relationship with other bodies. It causes changes in sensibility and expansion of intelligence by going back and forth between bodies. Through this, it encourages the subject to change and furthermore draws an line of escape to find new possibilities in life.

KCI등재

저자 : 임일진 ( Im Il-jin )

발행기관 : 한국연극교육학회 간행물 : 연극교육연구 40권 0호 발행 연도 : 2022 페이지 : pp. 65-87 (23 pages)

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In his book Poetics, the Greek philosopher Aristotle cites composition, character, thought, speech, music, and spectacle as elements of tragedy. This is a very important element that composes a traditional play based on a play, and it occupies a very important part even after many years. In modern times, we know theater as a comprehensive art that combines various arts such as directing, acting, stage, costume, and lighting, and the approach to the reality of theater is very superficial or not specific as much as complex and diverse artistic elements.
In the traditional theater space based on plays, scenography has been rapidly changing based on the concepts of image theater and post-drama since the 1970s. This process goes back a long way, and it can be said that Gordon Craig and Adolf Appia at the end of the 19th century started with symbolist stage art that rejected the existing production method.
In the study of contemporary performing arts, the role and expression of scenography can be seen to be in line with the changes in theatre, which have been passed down since Aristotle. As the text of modern theater, scenography is It goes beyond the visual explanation of the existing text and the artistic expression of the background, and presents an independent genre as artistic imagination and aesthetic achievement. This means that in contemporary performing arts, scenography not only visually reinterprets the text of a play, but also attempts a new way of expression that constitutes an independent semantic system. very important in that It can be said that the concept and change of modern scenography is at the center of the mask texts and non-verbal elements in plays, which have been actively shown in Western theater for a long time, and are inextricably linked with each other.
Accordingly, new possibilities of scenography as a non-verbal theater space can be confirmed by examining the changing expression styles of scenography since modern times and further examining the expansion of scenography as post-drama and post-drama.

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