KCI등재
역할의 몸틀 형성에 기여하는 무대 환경 경험을 위한 촉각적 지각 방식 -촉각적 지각 방식의 종류와 과정에 대한 개념적 이해를 중심으로 = A Method of Haptic Perception to Experience the Stage Environment Contributing to Building the Role of Body Schema -theoretical study regarding the types and method of the haptic perception
저자
발행기관
학술지명
권호사항
발행연도
2015
작성언어
Korean
주제어
등재정보
KCI등재
자료형태
학술저널
발행기관 URL
수록면
175-208(34쪽)
DOI식별코드
제공처
소장기관
This study addresses that the role of body schema, which is the base for the existence of an actor``s role, is built by the interaction with all the stage environment under the given condition, and the restructural process of an actor``s body to the body for the role with the stage experience should be carried out by a method of haptic perception, the perceptual experience using whole body. The body schema, the base for the role existence, of an actor indicates that the person converts one``s body doing daily living activities, such as walking, sitting, lying, grasping, etc. autonomously and unconsciously fitting for the role of the stage, but avoiding one``s own habit of daily living activities. In other words, the body schema, built with sum of the daily living activities, in relation with the stage environment needs to be felt by the haptic perception. Prior to opening out the main subject, the premised concepts to help comprehension of the subject are as follows: first, the haptic perception is the perception using whole body; second, the stage environment means the space comprising of the objects implicating the play; third, the haptic perception is ruled as the system of multi-sensory, experiential perception, in a level of sensible perception. The methods of haptic perception to assist the restructural process of the body schema in relation with the stage environment are haptic perception by hand touch, haptic perception by proxy touch of a tool, and haptic perception by entire body movement. The haptic perception by hand touch vitalizes five senses including motor sensation and muscle sensor by vitalizing cutaneous sense of entire body with skin that touches objects and props placed in a close distance and a role, and causes empathy and agitation emotionally to form body schema into which body, mind, and emotion are integrated. For this, skin sensory activities of entire body, caused by hand skin, can be performed as they are connected with cognitive force in brain. The ``haptic perception by proxy touch of a tool`` stands for a haptic method that touches objects and environment in a way that holding tools and props by hand substitute for hand functions. The end of tools becomes a sense of touch to serve as a function and a role of extended hand of an actor, which can lead movement of extended body. The ``haptic perception by entire body movement`` stands for a perception on one-side space in a dynamic perception method directly connected to the stage by actively moving entire body towards stage setting and backdrops in stage environment. As stage space aims not to perceive size, width, height and depth of the space but perceive reconstituting size, location, and width of the placed devices or stage setting of stage space in a solid, three-dimensional by moving and approaching body in person. The 3 kinds in haptic perception methods are intended to proactively experience all the objects in a stage as correlatives of a character role, not overlooking that they are closely related to actors as a character role and theatrical semantic system. Based on this, the haptic perception methods follow a 4-step process. The first step is that actors should empathize and understand a director and a designer about theatrical intention and meaning implied in all creations that appear in the stage. The second step is to touch or approach creations in a satisfied external physical body condition by moving body with conscious attention and curiosity towards them in order to observe them if actors recognize objects as theatrical meaning. If a device is installed in a long distance, it should be recognized by integrating a long perspective of it and senses of touch obtained from experience of approaching and touching. The third step is to observe formative features of objects in a sense of touch, which is observation behavior on shape, size, weight, texture, usage, operation, and feeling with sensory action of entire body while having in mind in what relation the objects perceived by touching with hand or tool are with life of a role or circumstances and what meaning they contain. For the fourth step, a sense of object appearance has an intrinsic, extrinsic sense of fellowship with objects, arising from imagining and empathizing a story connected with objects and causing emotional agitation and behavior, which bringing out creating behavioral pattern that effectively operates and adapts to objects to match a story of role and theatrical circumstances. In short, a sense of touch is started from hand touch, proxy touch by tool, touch by entire body movement, which causes physical knowledge (memory), sensible impression, emotional agitation, and even physical behavior on the object, by connecting and integrating all senses of entire body. Namely, as the haptic perception is correlated with theatrical objects and entire body for a role, body schema, body, mind, and emotion, which properly act to the object, form body schema harmonized with a unified one.
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