한국연극 연기에 있어서 화술표현의 변천양태 연구 : 1900년대부터 1970년대까지 = (A)study on the changes of voice and diction in Korean theatre acting : from 1910 to 1970
저자
발행사항
서울: 동국대학교, 2007
학위논문사항
발행연도
2007
작성언어
한국어
주제어
KDC
681.6 판사항(4)
DDC
792.028 판사항(21)
발행국(도시)
서울
형태사항
iii, 246 p.: 삽화, 도표; 26 cm
일반주기명
참고문헌: p. 233-241
DOI식별코드
소장기관
This study aims to examine the changes of voice and diction in Korean theatre (VDKT) from the early 1900's to the 1970's. During the period, the changes of VDKT had happened a great deal and brought some remarkable features every decade as follows:
1. VDKT began in the beginning of the 1900's and caused the appearance of 'Chang-Keuk', a Korean traditional musical which was often a sort of western opera. Especially, <Eun-se-gye> which means a sliver world was a new theatrical form and consisted of song and diction together. At that time, the voice and diction used by Eun-se-gye was too strange for the audiences to understand it's meaning. But the art of the voice and diction that an actor spoke while singing songs must be a revolutionary change in Korean acting history.
2. The more developed VDKT appeared in 'Sinpa' drama in the 1910's. 'Sinpa' was a new theatrical form influenced from Japanese theatre such as 'Kabuki.' For example, in the period the aspect of the voice and diction was based on strong intonation and the sharp drop of tones between high and low. This aspect has been criticized sharply because it was similar to Kabuki and was regarded as an uncomfortable speaking style. This strange diction form changed slightly in the middle of the 1910's when 'Sinpa' chose a Korean repertory for the public. The diction was a bit different to the form for 'Kabuki,' but the Japanese style of intonation still remained. Nevertheless, Sinpa was a new play in the Korean theatrical field because it started not with singing, but with speaking.
3. Another aspect of the changes of the diction affected by the Japanese influence was found in the performances of the Towolhoe and Dongwoohoe troupe in 1920's. Traditional Korean intonation and rhythm was employed in the works of Towolhoe and Dongwoohoe. In those days it was demanded of theatrical troupes that they enlightened the public under Japanese colonial rule. They also tried to build modern repertories which are against old ones in view of recognizing the reality. The theatrical troupes trained actors to be able to correctly pronounce the Korean language and to convey clearly meanings in their conversations. Modern characters need to express more delicate feelings and are trained for pronouncing accurate Korean consonants and vowels. It brought in the modern intonations and rhythms of Korean language. But at that time, theatre condition was too poor to create natural dictions and eventually led to shouting or recitation style in diction.
4. In the 1930's the theatre made the audiences recognize 'real problems' by selecting both realistic theater translated into Korean and creative ones as repertoires. For instance, there's Keukyesulyonguhoe which was the drama academy. Hae-Sung Hung as the leader of the Keukyesulyonguhoe sought western realism dramas including Checkhov and Ibsen to enlighten the audience. Unfortunately, mistranslation of the western dramas gave rise to unnatural speech, so the dictions of actors led to monotonous speeches which had no rhythm and no tempo, as if a robot were speaking.
Chi-Jin Rye, another leader of the Drama Academy, started writing and directing uniquely Korean plays because of the crudity of the translated plays. As a result, actors' dictions gained the natural rhythms of Korean language and could be free from mechanical speeches. On the other hand, Rye emphasized the importance of comic elements in the acting style, which led to the need for the actors to overemphasize their voices and movements. Moreover, Rye chose a large theatre to gather a greater audience. This also inevitably led to exaggerated diction in volume and presentational style. Therefore, the diction style was similar to western Romanticism mode. From the late 1930's until the 1945 Liberation, the Japanese fascism was extreme. Rye chose historical plays to avoid the Japanese censorship.
As a result, the lines turned into poetic lines with the old Korean rhythmical thing, so the diction of actors was similar to recitation.
5. From the nation's independence from Japanese colonial rule in 1945 to 1950's Keukhoeb and Sinhoeb were leading theatrical troupes. They were the successors of Keukyesulyonguhoe and inherited the historical repertories which led to sentimental expressions in diction. Especially, they performed Shakespeare's famous tragic works in front of a lot of refugees during Korean war in Dague. Actors naturally had to shout loud enough for all audiences to hear them. If the actors could not speak out or exaggerate their movements as much as they want, they would not have been able to keep the tired refugee's attention. Shakespeare's poetic lines were combined with Korean traditional rhythmical recitation and a big volume. As a result, the tempo of diction became slow and was similar to recitation. Comparing this diction style with western style, it was similar to Classicism or Romanticism.
6. After the Korean war, the 1960's political and social circumstances of Korea and consciousness of its people were changed in many ways. The audience could not be interested in Korean verse or aristocratic diction style because their lives were too hard to enjoy them. According to the changes, the factors of theatre were varied a great deal. For instance, realistic plays appeared and have been evaluated as perfect realistic ones in the play arena of the 1960's. Dramatists started writing Korean realistic works by using colloquial expressions. At that time, Korean leading companies were two: Silhoem, which started with new young academic actors, and Dramacenter, a successor of Keukyesulyonguhoe. The leader of Silhoem and Dramacenter emphasized script analysis, so actors were required to study their roles and inner motives of characters. To facilitate this process, directors extended rehearsal times to about a month and a half and attempted to create realistic stage and movement. The recitable diction naturally disappeared, while 'realistic diction' style emerged and developed.
7. In the 1970's there was a movement to escape from the realistic diction style. The movement can be found in Minyoe, Jaeyoo and Dongrangrepertory. At first, Min yoe and Jaeyoo tried to use the Korean traditional poetic rhythm in diction. Although they were not complete modes, they were the first attempts to realize something different from realistic diction.
On the other hand, Dongrangrepertory, a successor of Dramacenter, began to change realistic diction with an emphasis on voice itself. Duk-hyeong Yoo and Min-Soo Ann, the directors of Dramacenter, concentrated on tone, volume and rhythm of voice rather than on meanings of language. They started using the volume and the pitch of voice progressively and attempted to combine voice and the other theatrical elements: music, light and movement. As a result, Dramacentar directors created a unique vocal acting style, which depends not on the meaning of language but on the voice itself.
Therefore, Korean acting style was changed variously from 1910's until 1970's. In spite of its short history, Korean acting was diversely developing in the interaction between tradition and innovation. Every troupe and actor did their best according to the circumstances of the period.
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