기호로서의 신체적 연기: 그것의 연극적 특성과 인지과학적 원리
The Physical Acting as a Sign: Its Theatrical Features and Cognitive Science Principles
0
조회
0
다운로드
4
인용
0
참고문헌
키워드
초록
본 연구는 기호연기’에 대한 아이디어가 역사적으로 어떻게 형성되고, 그것의 이론적/미학적 당위성이 무엇인지 고찰하기 위해 디드로, 델사르트, 마이어홀드, 그리고 아르토의 연기이론을 논의했었다. 그것에 따라 파악된 기호연기는 다음과 같은 특성을 지닌다. 기호연기는 ① 제스처와 무대동작 같은 신체적 표현을 중시하며, ② 그와 같은 신체표현이 특정한 감정과 생각을 환기시키는 ‘기호(sign)’의 성격을 갖는다고 전제하면서, ③ 그런 외적 기호의 모방을 권장하며, ④ 외적 기호를 효과적으로 인지시키기 위해 타블로의 미학을 사용하고, ⑤ 역의 창조과정보다 외적 기호의 결과를 우선시하는 수용자 중심의 미학을 지향하고, ⑥ 정서적 반응이나 지적인 이해는 신체적 경험에서 출발한다는 전제를 암암리에 깔고 있어서, ⑦ 대사(언어)보다 신체언어를 강조하며, ⑧ 인지과학의 신체화된 실재론, 거울뉴런, 시각적 의도 이론 등에 의해 상당부분 그 정당성을 확보한다. 위와 같은 공통점들을 갖고 있는 기호연기는 또한 개별적인 차이를 갖고 있기도 했다. 즉, 기호연기에 관한 논의는 반복되는 아이디어와 새로운 시각을 갖으며 역사적으로 이어져 왔다. 따라서 기호연기의 이론은 일종의 ‘다양함 속의 통일성’을 이루며 하나의 ‘계보’를 형성할 정도의 형태를 취하고 있다. 아마 기호연기는 이론 이전에 실천의 사안일 것이다. 그것은 고대 연극에서부터 실천적으로 이미 존재했던 것으로 추측되며, 배우들이 의식적 무의식적으로 사용하는 방법이기도 하다. 이처럼 기호연기가 연극의 오랜 역사를 지배하고, 그것이 나름대로의 미학적 잠재력으로 배우연기의 유력한 도구임을 감안할 때, 이에 대한 학술적 탐구와 연극적 관심사는 필요하다 하겠다. 상투적이고 진부한 것으로 폄하되었던 형식화된 기호연기가 실은 연기의 필수 요소였던 것이다. 즉, 기호연기는 모든 종류의 연극에서 발견될 수 있으며, 각 연극의 형식과 양식에 따른 표현적 차이를 내포할 수 있다. 아마 이는 다음 연구의 과제일 수 있다.
Abstract
This essay studied the acting theories of Diderot, Delsarte, Meyerhold, and Artaud to know the historical formation of ‘sign acting’ and its theoretical and aesthetic appropriateness. The sign acting so far discussed shows the repetitive patterns of idea as follows. The sign acting ① emphasizes the physical expression such as gesture and movement, ② assumes that the physical expression functions as a sign evoking special emotion and thought, ③ thus recommends the imitation of the outer sign, ④ uses a tableau for the effective reception of outer sign, ⑤ aims for the spectator oriented aesthetics as it stresses the result of outer sign rather than the creative process of a role, ⑥ assumes that the emotional reaction or the intellectual understanding springs from the physical experience, ⑦ thus emphasizes the physical language rather than speech, ⑧ can attain the appropriateness of physical language by the recent theories of cognitive science. Besides having such commonness, the sign acting also reveals the individual differences. For instance, the intended sign for Diderot and Delsarte was the sign of emotion, for Meyerhold the stylized sign of circus and acrobatics, and for Artaud the spiritual sign. If Diderot and Meyerhold demands the cool consciousness for the correct sign acting, Artaud's sign acting tends to pursue the state of trance. And if Diderot, Delsarte, and Meyerhold think the sign acting on the level of sensory appeal, Artaud insists that the sign acting should dismantle the spectator's sense. As such the discussion of sign acting shows both recurrent ideas and new visions, forming an unity out of diversity. Perhaps the sign acting is a matter of practice before we consider it as a theory. It is not only supposed to have been existed practically since ancient theatre, but also used by actors consciously and unconsciously in expressing certain emotion and thought. We need to study the sign acting more academically, considering its long history and aesthetic potentials. In fact the sign acting has been an essential element of acting, in spite of bad reputation judging it as a banal and worn-out style. It is true that the sign acting, in the worst case, could produce a stereotypical expression. It was this aspect of sign acting that caused a fierce negative reaction of the realists who sought the natural expression based upon psychological truth. Of course the sign acting has a serious problem when it stays banal and artificial. But we need to see this issue from a different perspective. What is the natural expression of emotion? How is it free from the learned way of expression? In some respect, we use, in reality, a learned expression of emotion that could be accepted socially. For instance, when we attend a funeral, we use the outer sign of mourning gestures learned socially. If a semiotic expression pervades various aspects of our life, the acting, being the representation of life, seems not to be free from codified expression. The sign acting could be used consciously and unconsciously in all kinds of acting.
참고문헌 (43)
- 안치운, "20세기 전반기 유럽의 연출가들-단행본" (2001), 연극과인간
- 신현숙, "아르또와 잔혹연극론" (2003), 연극과 인간
- Artaud, Antonin, "The Theatre and Its Double" (1958), Grove
- Barthes, Roland, "Diderot, Brecht, Eisenstein", Screen, XV (1974)
- Bloch, Susana, "Acting (Re)Considered: Theories and practices" (1995), Routledge
- Braun, Edward, "Meyerhold on Theatre" (1969), Hill and Wang
- Braun, Edward, "The Theatre of Meyerhold" (1979), Drama Books Specialists
- Cavenaugh, Greg, "Corresponding with Delsarte: Occult and Ontological Dimensions of Nineteenth-century Elocutionary Performance", Text and Performance Quaterly, 31(2) (2011)
- Clarke, Janis Dawn, "The Influence of the Delsarte System of Expression on American Acting 1871-1970", pp.1982
- Dasgupta, Gautam, "Commedia Delsarte", Performing Arts Journal, 15(3) (1993), Classics Contemporary
- Delaumosne (Abbé), "The Art of Oratory, System of Delsarte" (2012), General Books
- Diderot, Denis, "배우에 관한 역설" (2012), 문학과 지성사
- Diderot, Denis, "연극미학" (2003), 동문선
- Diderot, Denis, "Diderot's Sellected Writings" (1971), Burt Franklin
- Diderot, Denis., "The Paradox of Acting" (1957), Hill and Wang
- Eaton, Katherine Bliss, "The Theatre of Meyerhold and Brecht" (1985), Greenwood
- Eisenstein, Sergei, "Film Form: Essays in Film Theory" (1949), Harcourt
- Fischer-Lichte, Erika, "Interpreting the Theatrical Past" (1998), University of Iowa Press
- Foster, Susan Leigh, "The Cambridge Companion to Perfromance Studies" (2008), Cambridge UP
- Gifford, Louise, "Every Little Movement: A Book About François Delsarte" (1963), Dance Horizons
- Johnson, Dorothy, "Corporality and Communication: The Gestural Revolution of Diderot, David, and The Oath of the Horatti", The Art Bulletin, 71(1) (1989)
- Josephs, Herbert, "Diderot's Dialogue of Language and Gesture" (1969), Ohio State UP
- Kirby, E.T., "The Delsarte Method: 3 Frontiers of Actor Training", TDR, 16(1) (1972)
- Knowlson, James R., "The Idea of Gesture As A Universal Language In the XVIIth And XVIIIth Centuries", Journal of the History of Ideas, 24 (1965)
- Kolstad. Benjamin K., "Reading Signs: The Theory and Practice of Gesture in Enlightenment Literature. a disseration. Comparative Literature" (2001), University of California
- Lakoff, G., "몸의 철학: 신체화된 마음의 서구 사상에 대한 도전" (2002), 박이정
- Law, Alma, "Meyerhold's The Magnamimous Cuckold", TDR, 26(1) (1982)
- Law, Alma, "Meyerhold, Eisenstein and Biomechanics: Actor Training in Revolutionary Russia" (1996), McFarland & Company
- Leach, Robert, "Vsevolod Meyerhold" (1989), Cambridge UP
- Leach, Robert, "When He Touches Your Heart... - The Revolutionary Theatre of Vsevolod Meyerhold and the Development of Mikhail Chekhov", Contemporary Theatre Review, 7 (1997)
- Logie, Lea, "Theatrical Movement and the Mind-Body Question", Theatre Research Interantional, 20(3) (1995)
- McConachie, Bruce, "Falsifiable Theories for Theatre and Performance Studies", Theatre Journal, 59 (2007)
- McConachie, Bruce, "Performance and Cognition:Theatre Studies and the Cognitive Turn" (2006), Routledge
- Meyerhold, Vsevolod, "Meyerhold on Theatre" (1969), Hill & Wang
- Meyerhold, Vsevolod, "Meyerhold Speaks...", Performing Arts Journal, 3 (1979)
- Preston, Carrie J., "Posing Modernism: Delsartism in Modern Dance and Silent Film", Theate Journal, 61(2) (2009)
- Schechner, Richard, "Performance Studies: An Introduction" (2002), Routledge
- Seigel, Jules Paul, "The Enlightenment and the Evolution of a Language of Signs in France and England", Journal of the History of Ideas, 30 (1969)
- Shawn, Ted, "Every Little Movement: A Book About François Delsarte" (1963), Dance Horizons
- Stebbins, Genevieve, "Delsarte System of Expression" (1977), Dance Horizons
- Salazar-Sutil, Nicolás, "Antonin Artaud's ‘decisive transfusion’ From theatre to mathematics", Performance Research, 14(4) (2009)
- Taylor, George, "Francois Delsarte: A Codification of Nineteenth-Century Acting", Theatre Research Interantional, 24(1) (1999)
- 박형섭, "잔혹성의 미학" (2001), 동문선