An Exploration of a Way for Contemporary Actor Training/Acting: A Perspective from Denis Diderot and Tadashi Suzuki’s Concepts
DC Field | Value | Language |
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dc.contributor.author | 손봉희 | - |
dc.date.available | 2021-04-01T01:40:38Z | - |
dc.date.created | 2021-04-01 | - |
dc.date.issued | 2021-03 | - |
dc.identifier.issn | 2288-7202 | - |
dc.identifier.uri | https://scholarworks.bwise.kr/gachon/handle/2020.sw.gachon/80601 | - |
dc.description.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. | - |
dc.language | 영어 | - |
dc.language.iso | en | - |
dc.publisher | 국제문화기술진흥원 | - |
dc.relation.isPartOf | The International Journal of Advanced Culture Technology | - |
dc.title | An Exploration of a Way for Contemporary Actor Training/Acting: A Perspective from Denis Diderot and Tadashi Suzuki’s Concepts | - |
dc.title.alternative | An Exploration of a Way for Contemporary Actor Training/Acting: A Perspective from Denis Diderot and Tadashi Suzuki’s Concepts | - |
dc.type | Article | - |
dc.type.rims | ART | - |
dc.description.journalClass | 2 | - |
dc.identifier.bibliographicCitation | The International Journal of Advanced Culture Technology, v.9, no.1, pp.58 - 63 | - |
dc.identifier.kciid | ART002698960 | - |
dc.description.isOpenAccess | N | - |
dc.citation.endPage | 63 | - |
dc.citation.startPage | 58 | - |
dc.citation.title | The International Journal of Advanced Culture Technology | - |
dc.citation.volume | 9 | - |
dc.citation.number | 1 | - |
dc.contributor.affiliatedAuthor | 손봉희 | - |
dc.subject.keywordAuthor | Contemporary Actor Training | - |
dc.subject.keywordAuthor | Acting | - |
dc.subject.keywordAuthor | Body/Mind Integration | - |
dc.subject.keywordAuthor | Diderot | - |
dc.subject.keywordAuthor | Suzuki | - |
dc.subject.keywordAuthor | an Actor’s Body | - |
dc.description.journalRegisteredClass | kci | - |
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