초기 사실주의 연기양식의 형성과정 고찰 -‘앙트완느’에서 ‘스타니슬랍스키’까지(1870-1905)

Abstract

Realism in acting has been the major movement throughout eastern and western modern theater. However in the mass, there still persist incorrect perceptions about realist acting. This article will illustrate the early realism in acting. This study is motivated by the assumption that without a coherent understanding of early realism, a clear understanding of modern realism in theater is infeasible. Therefore, this article will present a thorough examination on the ‘early’ period of the development in realism, from 1870 to 1905. During this period, realism and naturalism have not yet diverged, and with actors like Stanislavski focusing more on experience based internalized acting. Furthermore, realism and naturalism will be looked at as a single movement in theater. The vague distinction between realism and naturalism was perplexing even to the actors at the time and was widely used interchangeably. Thus, any artificial distinction between the two terms would lead to confusion and would detract any attempt for a thorough understanding of the time. In summary, this article will first clarify unclear notions about realism and naturalism in theater, then present the steps in which early realism was developed in theater acting, along with the influence realism had on the actors such as André Antoine, Otto Brahm and Stanislavski. Next, following the objections made by contemporaries of realism at the time, the significance and limitations of early realist acting will be examined. Ultimately, the article hopes that reexamining early stages of realism can spread light on the current state of theater acting and propel future developments.