An Exploration of a Way for Contemporary Actor Training/Acting: A Perspective from Denis Diderot and Tadashi Suzuki’s ConceptsAn Exploration of a Way for Contemporary Actor Training/Acting: A Perspective from Denis Diderot and Tadashi Suzuki’s Concepts
- Other Titles
- An Exploration of a Way for Contemporary Actor Training/Acting: A Perspective from Denis Diderot and Tadashi Suzuki’s Concepts
- Authors
- 손봉희
- Issue Date
- Mar-2021
- Publisher
- 국제문화기술진흥원
- Keywords
- Contemporary Actor Training; Acting; Body/Mind Integration; Diderot; Suzuki; an Actor’s Body
- Citation
- The International Journal of Advanced Culture Technology, v.9, no.1, pp.58 - 63
- Journal Title
- The International Journal of Advanced Culture Technology
- Volume
- 9
- Number
- 1
- Start Page
- 58
- End Page
- 63
- URI
- https://scholarworks.bwise.kr/gachon/handle/2020.sw.gachon/80601
- ISSN
- 2288-7202
- Abstract
- 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.
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