배우 교육에서의 과정 중심의 신체 훈련 지도방법 연구

Abstract

This thesis interrogates the term, a performer’s ‘bodily-based training’ in reconsidering and articulating its purpose and practical meaning which directly link to the significance of a performer’s bodily-based discipline and the principle of acting. This research begins by retracing the place and role of those student-actors’ body within which s/he has forget the fact that s/he has a body as s/he has mainly engaged in finding, pursuing, and/or copying a specific answer or result rather than understanding and inhabiting the value and origin of a specific training source(s) through his/her studio work. Arming this point of view and reflecting the fundamental research question, ‘why we do bodily training’, this thesis discusses some problematic issues from a perspective of the gap between a performer’s body and a role/character. Exploring the purpose and the significance of bodily-based discipline gives us not only better insight into how the performer work on his/her body as oneness, but also what the essential relationship is between a trainer and trainee and/or a teacher and a student-actor. The consequences of this research finding is that the process of training/teaching and the principle of acting must be demystified through a performer’s bodily experiences by interrogating what his/her body would work in learning and adapting a specific training source(s). This thesis then moves on the necessity of a process-based approach in order to find and develop an alternative way. Particularly, a Japanese drama teacher, Michiko Ishii’s concept for performer training addresses the importance of a way for restrained teaching in which Ishii acknowledges each student-actor’s journey by means of what each student-actor has experienced through his/her body. The process provides a certain means of teaching/training as a process of non-teaching/training in which each body could meet and therefore encounter in the here and now. This facilitates to enhancing the appropriate relationship between a trainer and trainee by avoiding the tendency towards the answer and/or result. Interrogating and reconsidering the aforementioned approach and process leads us the comprehensive understanding of bodily training and acting. In other words, examining an account of how the performer’s body constitute the concept of openness and spontaneity as unity takes place the notion of a performer’s receptive body towards how to attain an optimal state of bodily awareness and deployment energy. Teaching and working on one’s body which lies beneath the surface that any bodily training must be to meet the demand of the principle of acting in responding the purpose and meaning of bodily-based discipline(s).