현존적 재현 구현을 위한 신체행동연기의 구축-강량원 연출의 극단 동(動) 연구-

Abstract

Based on the Stanislavsky's acting concepts, which have been based on the modern actor's training techniques, Kang Yang Won and his company "Dong(동)" has performanced so called non-realistic theatres since 1999. His company doesn't stick to the traditional roles of director and actors. Directing and acting crews get together, discuss, and study together to find the actions of subtext, which are analyzied to the subtle gestures, the common language "unit", with which they always want to meet the audiences in a new way. In their first step of work, the director proposed a concept-synopsis, and the actors set up the concept-synopsis as unit. Then the director gives back its feedback. Through the repeated circular reactions, they practice and discuss, and finally complete a piece. Their actor's training system is similar to the Stanislavsky's, but distinguished from the Stanislavsky's. Above all, they opt for objectively describing what is shown on the surface focusing on the physical actions. Such a characteristic of Kang Yang Won and his company "Dong" is significant in point of modern korean theatre history, which was influenced by the realism or representation based on the Stanislavsky's actor training method, that is, the realism of korean theatre history was connected of Stanislavsky's. But in spite of influence of Stanislavsky, Kang Yang Won and his company "Dong" refused the representation and its reality. From this we can consider the special position of Kang Yang Won and his company "Dong" in the korean theatre history. That is, considering the relative relationship between the representing and represented, they offer a perception of present representation through the physical action in the stage to break up the unconsciousness based on realism stuck to the korean theatre history. They accept the tradition of non-realistic theatre in korea and simultaneously transform it through the theatrical methods and means, that is, physical action. Moreover, their works reflect on the theatre itself as metatheatre, in which we can see the sign of postdramatic theatre.