신체적 연기술의 연출 -강량원과 극단 동의 작업을 중심으로

Abstract

It is a common saying that it is the actors who meet the audience in the theatre performance and then theatre is the actor's art. The actor's presence is, in fact, the essential feature of theatre. The actors of the Post-Drama, however, have to deal with the new task to procure the performative physicality beyond a function as a sign of words. When we say that physical acting or show of acting itself distinguished in Tanz-Theater and other performing arts rejects the mere representation, what is the physical acting seeking for instead, and how is it accomplished? This essay on the physical acting theory of theatre company, Dong, though limited, will answer to those questions. The physical acting of theatre company Dong is not based on the meanings pre-determined by the text, but the physical actions "performed" by the actors. The performative action means communicating physically with the objects existing on stage like objet, body, human beings, words and inner image in order to accomplish a certain purpose, and this is the contents of theatre. Theatre is focused on the actors' performative actions and the actors become the author writing the text or plan of their movements(physical acting) which will be staged afterwards by the actors. This is wholly creative in a sense that the actors make their own acting plan. Dong's physical acting starts from the belief that any dramatic situation can be expressed by the physical actions. Thanks to the several successful performances, its belief, sounding somewhat extreme, has the chances to be interpreted as a new paradigm on the Post-Drama of our times and its acting style. What should be examined in this essay is the physical acting theory and its realization on stage. As already known, in the modern theatre all the experiments on the physical acting have been made together with the study on its theory and techniques. As Craig noted, this physical acting is a prerequisite for theatre of techniques, that is, ‘concrete theatre’ to overcome the inner acting or the psychological acting. Dong's physical acting is depending on the definite principles of the performative action and continuous and elaborate rehearsal process. This physical acting can be played as the alternative of non-representational acting out of the inner psychological acting. Ryang-Won Kang's theory of physical acting shows the possibility of Koreanized ‘concrete theatre.’ Consequently, considering our conditions that we have poor acting theory and programs, its principles and contents are to prove valuable. It is very important to apply the theory to the performance in the acting theory. Theatre company Dong occupies the unique place in that respect. ‘Chekhov's 5 plays with 5 acting styles’ in December, 2008, is an instance of the performance whose rehearsal process was moved directly to the stage. The physical acting has not been completed yet. Even the actor who aims at the physical acting sometimes feels confused on its concept. And there are such actions as a gesture of autonomic nerve realized through the diligent practice. It is necessary to examine other visual elements on the stage as well as the body and the objects in terms of the performative quality found in the physical action. This will offer a wide range of approaches to the physical acting.