1960년대 북한의 연극 연출법 - 행동분석법을 중심으로 -

Abstract

This study aimed to examine the method of physical action, presented as a direction method in the North Korea drama circles in the 1960s, as well as its application in the production process, thus reporting this fact to the domestic play circles. The study found that the method of physical action was a direction method that was facilitated by North Korean personnel who had studied in Russia. North Korea's the method of physical action is classified into three stages. The first is to reduce theoretical analysis as much as possible, while analyzing plays and characters' super-objective, top tasks, and through line of action based on actions. This offers the strength of narrowing the actor-character distance. The second is analysis as "me," not as "him" while the theoretical analysis pursues an analysis of "him" not "me" according to NK explanations. In other words, the theoretical analysis takes approach from the "character" to "me," while the method of physical action takes approach from "me" to the "character." To that end, the director asks actors questions from diverse angles not implied in the play, thus stimulating their imagination. The third is to use etude actively. The etude progresses as the directing team presents situations, leading actors to exercise their imagination, perform impromptu dialogues and behaviors, and construct scenes. This delivers the vitality of improvisation to the stage. As such, before Kim Jong-il intervened in NK literature and arts, in particular, from the 1960s to the mid-1960s, the new direction method, namely, the method of physical action, appeared in NK play circles, leading it to be the key argument. NK play personnel paid to this method of physical action because it narrowed the actor-character distance, derived the vital response through improvisation, and rationally, not forcefully, motivated actors to play. Before Kim Jeong-il's 'Seongwhangdang-type plays were introduced to NK, the method of physical action suggests that, in NK play circles, diversity, ceaseless exploration, and productive arguments prevailed.