모순의 양립을 위한 이중성의 연기론

Abstract

This article explores an actor's acting theory as a dual device that balances the contradiction relationship between language and unconsciousness in an actor's acting. This is due to helping the actor immerse himself in acting while expressing creativity along with reproducibility and individuality in the actor's broken heart. The core principle of this methodology is to produce the actor's existential phenomena by exercising instantaneously in two cycles of ‘mutuality’ and ‘self-sustaining’ in an empty place called ‘machine’. That is to say, it is a methodological device that properly coexists and expresses creativity in an actor's performance via a dual dynamic model of waves and particles, like the processing of quantum mechanics. Via a series of automatic procedures, the actor traverses the oppression created by self-consciousness and produces inertia to resist the manpower to return to reality, maintaining a dramatic illusion and finally reaching an excess of immersion. Eventually, the ‘creativity’ referred to in the text is the effect of immediate pleasure detected at the moment when the total phenomenon of the existence of an actor produced in 2 cycles of wave movements is generated like material particles.