홍해성의 배우론 연구

Abstract

This study aims at closely reviewing , who is assessed as a person of realism theater, and to identify the essence of his acting theory. Studies on Hong Hae-seong until now focused on discussions about realism dramaturgy and the influential relationship with Stanislavsky. However, recent researchers raised objections on their influential relationship through close reviews on the dramaturgy of Hong Hae-seong and Stanislavsky's dramaturgy. Based on such preceding studies, this study aims at reexamining the acting theory of Hong Hae-seong. In particular, this study avoids methods that defined Hong's dramaturgy through the influential relationship with western dramaturgy and examines his dramaturgy as an independent world. In other words, it examines the drama art theory that he accepted and made his own, and reexamines the key factors of his acting theory. For this, his acting theory was studied by categorizing as the theory on the actor ontology and acting theory. First, in the actor ontology, the issue of the social existence of actors as artists redefined in modern contexts and the awareness of the ego and existence of the actor as a natural person playing the role of a different character than one's own on stage were examined. In the actor acting theory, <stage art and actors>, which is the theory of actor techniques by Hong Hae-seong, and his acting skills that sporadically appears in his critiques and dramaturgy were inspected to reveal that the essence of his actor acting theory is in the naturalness felt by the audience. In addition, his actor theory reveals that it is focused on the issue of expression and forms rather than role analysis and psychological approaches by actors. It is expected that this research will ultimately be a cornerstone for reexamining the modernity issue and realism dramaturgy of Korean theater.