협업을 통한 미국적 연기 창조: 동맹극단과 말론 브란도를 중심으로
A Creation of American Acting through Cooperation: Focusing on the Group Theatre and Marlon Brando
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A fine example of the cooperation between a playwright and a theatrical group was observed in the synergy gained through the joint efforts exerted by Clifford Odets and the Group Theatre. Odets, one of the Group members, embodied the basic principles of the Group in his Waiting for Lefty. The Group showcased its strengths of improvisation and psycho-realistic acting through staging the play. The playwright and the Group reached their peak of creativity in perfect harmony. Their achievement of an ideal of theatre made them exceptionally powerful representatives of the 1930s and major contributors to the establishment of modern theatre in America. The Method acting achieved by the Group through vigorous training and fervent experiment took a great impact on both Broadway and Hollywood. Many members of the Group dedicated their energy and time to teaching their supreme form of acting after the dissolution of the Group. Stella Adler, Elia Kazan, and Harold Clurman differentiated themselves from Lee Strasberg who overtly emphasized emotional memory and taught young actors their style of the Method acting. The finest student of them, Marlon Brando, realized the ideal of the Method acting on both the stage and the screen while playing the role of Stanley Kowalski in A Streetcar Named Desire written by Tennessee Williams and both directed by Elia Kazan. Brando's acting was incredibly powerful because he could project his emotional energy into the character and simultaneously make the character be alive in him. Therefore, he could synthesize the actor and the character in his acting. His dialectical achievement actualized the ideal of the Method acting in particular and acting in general. He set a great example of an American tradition of the teamwork of theatre and film.
Abstract
A fine example of the cooperation between a playwright and a theatrical group was observed in the synergy gained through the joint efforts exerted by Clifford Odets and the Group Theatre. Odets, one of the Group members, embodied the basic principles of the Group in his Waiting for Lefty. The Group showcased its strengths of improvisation and psycho-realistic acting through staging the play. The playwright and the Group reached their peak of creativity in perfect harmony. Their achievement of an ideal of theatre made them exceptionally powerful representatives of the 1930s and major contributors to the establishment of modern theatre in America. The Method acting achieved by the Group through vigorous training and fervent experiment took a great impact on both Broadway and Hollywood. Many members of the Group dedicated their energy and time to teaching their supreme form of acting after the dissolution of the Group. Stella Adler, Elia Kazan, and Harold Clurman differentiated themselves from Lee Strasberg who overtly emphasized emotional memory and taught young actors their style of the Method acting. The finest student of them, Marlon Brando, realized the ideal of the Method acting on both the stage and the screen while playing the role of Stanley Kowalski in A Streetcar Named Desire written by Tennessee Williams and both directed by Elia Kazan. Brando's acting was incredibly powerful because he could project his emotional energy into the character and simultaneously make the character be alive in him. Therefore, he could synthesize the actor and the character in his acting. His dialectical achievement actualized the ideal of the Method acting in particular and acting in general. He set a great example of an American tradition of the teamwork of theatre and film.
참고문헌 (24)
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