‘<성황당>식 연극’의 연기술과 무대 연출 연구

Abstract

The purpose of this paper is to analyze the outcome of the theatrical achievements and the acting theory of ‘The Revolutionary Theater in <Sungwhangdang(Tutelary Deity)> style of North Korea.’ It mainly focuses on the emotions of the actor, living the life of the role, the experiences from subconsciousness, the memories of emotions, the establishment or navigation of intangible roles and the “magic if” suggested by Stanislavski in his book, “An Actor Prepares.” This study explores the possibility of theorizing and understanding from the South Korea point of view the acting theory of North Korea’s revolutionary theater. Since there are not many instances of studying the acting theories of North Korea, as a trend of contemporary theater, this study provides an opportunity to understand North Korea's revolutionary theater. ‘The Revolutionary Theater in <Sungwhandang> style’, explores the ‘acting based on experiences’ like Stanislavski, but there is a difference between the two because the former focuses on the actor’s creative ‘nature.’ Thus, we can infer that Stanislavski’s acting theory has transformed into ‘experiential acting theory’ based on the class consciousness in North Korea. Furthermore, I will look into how stage directions are organized to help the actors to maintain their emotions and their flows. I will use as examples the North Korean representative revolutionary drama(Sungwhangdang) and the well known South Korean national opera(Chunhyangjeon), as well as the small one-act plays released since the 1990s.