몸성(Corporeality)의 강화를 통한 일인다역에 관한 연구 - <두 병사 이야기>와 <우리읍내>를 중심으로

Abstract

This study first applies a characteristic of double role in connection with improvement of corporeality to this play, <The Story of Two Soldiers>, <Our Town>, and then offers a possibility which would all make a little contribution to how artists in the real field find ways for immediate and sensuous exchange between the stage and audiences. The characteristic of double role that would ask for higher-level acting techniques has been torturing artists in the field for long as severe mental and physical burdens. However, if it is understood that today, the play industry is focusing more on emergent charms of actors and roles of audiences as co-producers, as for double role too, it should not attend only to complete transformation into another role but also to a change of direction that would be based on direct chemical reactions between two main agents who would be co-presence with performers of improved corporeality. With the above premise in mind, this study argues that when audiences experience double role with corporeality improved, we need to pay attention to how they are attracted even more to a performer for how one deals with one's roles only instantly and naturally than to how the audiences simply get entertained or impressed by the performer's absolutely perfect role transformation. In other words, it could be said that audiences are drawn more to actor's (signifier) role transformation skills with this presence improved which would surpass concepts of roles (signified). As a consequence, while audiences actively participate in an actor's role transformation as they go even beyond being passively absorbed into the roles as an end product, they come to have some dramatic experience which they have not yet experienced from other previous plays. In the same context, regarding double role with corporeality improved, not only does it clearly define the essence of a play that would be completed through chemical reactions between those co-presence actors and audiences but it also provides chances of creation and disappearance of performance texts which would be created 'right here and right now' and of challenging a new performance style in a process of such creation and disappearance.