俳優 金東園 硏究 = (A) Study of Actor Kim Dong Won
This thesis deals with the "Actor part" which composes a theatre art with the other parts. This study has materialized through my personal experience of real actors and through some endeavor of mine to understand the world of actors deeply and illuminate it. The proposition that a play is an art of an actor is definitely true and can't be argued over, that is to say, a play can't even exit without actors' concrete and dynamic expressions. But nevertheless studies have so far focused only on the history of theatre, play and authors. There even exists studies of the history of theatres and evaluation of it but only a few reseachers have studied the subject "Actors" which is considered one of the essential elements that compose a theatre art.
With the intention of looking into the history of actors, I'm going to choose a Korean actor, examine the actor's background and life on the stage for a theatrical career, and analyze his lifelong philosophy of arts and of acting which can be seen in his theatrical activities and many dramas where he played roles. This work will be an attempt to analyze the structure and the patterns of the theatrical arts in this era, and to understand a hidden world of an actor is to understand theatrical art truely.
It is not an easy job to choose an actor, understand his hidden world, analyze the theatrical structure and the patterns of the era, and illuminate the importance in the history of the theatrical arts, especially in Korea where most actors and actress quit their acting careers so quickly. But There is an actor who has been leading an unusual life since the days when New Drama was introduced to the public and has been leading a theatrical career for sixty years only as an actor. He is the actor, Kim Dong Won - his real name is Kim Dong Hyuk. In the course of choosing him as the main subject matter of this thesis, I met many theartrical artists and researchers who have some sympathy with my point of view.
Kim Dong Won was born at 438, Bokbonjung, Songdo-myun, Kaesung, Kyeongki-province on the fourteenth of Nov., 1916. His parents, Kim Kyung Soon and Lim Soo Bok, were famous shoemakers and had quite a lot of money. Kim has six brothers and sisters. He spent his childhood without any big difficulty thanks to the wealth of his parents, entered Baejye highschool, and started to practice vocal music. He happened to play a role in a dramatic performance which is to celebrate the establishment of the drama circle, which was his first theatrical experience. Though he played several roles under Yoo Chee Jin, a playwright and director, all his conflicts between music and play didn't dissolve. After graduating from the high school, he made a decision with his going to Japan for study, and the decision was a way of an actor.
He entered Japan University (Department of Art) and studied theatrical art with Yoo Chi Jin, Yi Jin Soon, Yi Hae Lang. After graduating from the University and coming back to Korea, he played title-roles (leading roles) in original works and foreign works such as "Chunhyang-cheon", "Hamlet", "Macbeth" and "Othello". That is to say, he was the first actor in the theatrical history of Korea who played the role of "Hamlet", "Othello" and "Mephistopheles".
Kim Dong Won, who adheres to realism and 'art for art's sake', is a witness of Korean theatrical art history and an honorable artist who is elegant and graceful from the debut to the retirement.
Some contents for the study of his art life are below.
≪His activities as an actor≫
His activities can be devided into 3 parts : the early period, the middle, and the late period
◎ The early period : Until 1956 when he was led astray by acting in the film "Madam Freedom"
He led a vigorous acting life in the complicated theatrical history of Korea.
◎ The middle period Until June, 1974 when he joined the National Theatre
He put more emphasis on films than on plays in this period. He acted in about 300 films and in some plays of course.
◎ The late period : From 1974 until now
In this period, not only theatrical artists but also the other artists tried a lot to purify themselves or their arts in accordance with the effort that the government made in order to re-build Korean traditional culture. And after Kim Dong Won stopped all the activities on the screen, he joined the National Theatre and played a lot of roles till he starred in the play for his retirement "Yi Sung Gye's Real Estate" in March, 1994.
≪His Acting≫
I analysed the concrete acting method of Actor Kim Dong Won, who started his theatrical career as an actor and retired from the career also as an actor, through studying the roles, the varieties and consistency of the expressions.
Kim's acting, what we call an internal acting aiming at 'pure realism', is based on the intention of performing an acting that spring from inside to outside.
He played many roles showing the object and the exact intention of each character successfully, and his physical condition gave him a great help to achieve this.
Reference) Kim Dong Won's physical condition.
◁표 삽입▷(원문을 참조하세요)
As you can see by studying his life, he practised a lot of vocalization and exercises, including the vocal music class in his adolescent period.
His acting seems to be based on the textbooks. - Set up the character's object in the whole drama through thorough analysis of the play and concrete understanding of the character's circumstances (of inside & outside). Next, express it exactly with a real impulse and energy through a well-disciplined body.
In other words, he is an actor who has both external skill and internal belief to create real worlds on the stages in every play.
He says that he has realized that what is really important is not the question "If I were Othello, what should I do?" but the question "If I were in the circumstance of Othello's, what should I do?", which is quite similar to the Method which Stanislavsky said.
Kim Dong Won insists that he can make a play not imitative but real by becoming a character who is in the same circumstance of the character in the play.
≪Critique and Meaning in the History of Theatre≫
There are a lot of commentaries which deal with his life as an actor but not many ones which have the main subject of the works he played in. Mostly, they are interested in his life and just wrote about the simple emotions they have in their mind.
Critiques of his acting itself are seldom to be found. I think it's partly because he is the only senior actor in the theatrical history of Korea.
In this kind of sense, I mostly refered to the articles in the newspapers.
You may well think that it doesn't make sense that a novice in the field of critiques like me comment on his art, but I wrote down something I felt in the course of studying him because we need to criticize an actor carefully for a deep understanding of him.
The actor, Kim dong Won, participated in the field of play at the time when an actor was treated as a clown, raised the social status of the play up by adhering to the orthodox New Drama, and then boosted the level of acting in the drama. He is the man who took part in establishing a drama center with Yoo Chi Jin and Yi Hae Lang in 1960s and played roles in "Hamlet", "Porgy and Bess" and so on, and he also made up an opportunity for the field of drama that had been bitten by TV and films to regain its original position.
As above, throughout researching Actor Kim Dong Won's life, acting activities, acting skill, theory of acting and of performance, I could realize in some way the art of performer and it was a great chance to think carefully about where actors' positions should be in the current Korean plays.
For the last, It is to be regretted that I could not watch the plays acted by him on the stage and that there are still a lot of matters that have to be discussed and evaluated when we think about his importance in the history of Korean theatre.
분석정보
서지정보 내보내기(Export)
닫기소장기관 정보
닫기권호소장정보
닫기오류접수
닫기오류 접수 확인
닫기음성서비스 신청
닫기음성서비스 신청 확인
닫기이용약관
닫기학술연구정보서비스 이용약관 (2017년 1월 1일 ~ 현재 적용)
| 주요 개정내역 | 변경 사유 |
|---|---|
| · 수탁업체 콘소시엄 기관명 및 위탁기간 명시 | · 제6조(개인정보 처리업무의 위탁) 구체화 |
한국교육학술정보원은 정보주체의 자유와 권리 보호를 위해 「개인정보 보호법」 및 관계 법령이 정한 바를 준수하여, 적법하게 개인정보를 처리하고 안전하게 관리하고 있습니다. 이에 「개인정보 보호법」 제30조에 따라 정보주체에게 개인정보 처리에 관한 절차 및 기준을 안내하고, 이와 관련한 고충을 신속하고 원활하게 처리할 수 있도록 하기 위하여 다음과 같이 개인정보 처리방침을 수립·공개합니다.
주요 개인정보 처리 표시(라벨링)
목 차
제1조(개인정보의 처리 목적)
제2조(개인정보의 처리 및 보유 기간)
제3조(처리하는 개인정보의 항목)
제4조(개인정보파일 등록 현황)
제5조(개인정보의 제3자 제공)
제6조(개인정보 처리업무의 위탁)
제7조(개인정보의 파기 절차 및 방법)
제8조(정보주체와 법정대리인의 권리·의무 및 그 행사 방법)
제9조(개인정보의 안전성 확보조치)
제10조(개인정보 자동 수집 장치의 설치·운영 및 거부)
제11조(개인정보 보호책임자)
제12조(개인정보의 열람청구를 접수·처리하는 부서)
제13조(정보주체의 권익침해에 대한 구제방법)
제14조(추가적 이용·제공 판단기준)
제15조(개인정보 처리방침의 변경)
제1조(개인정보의 처리 목적)
제2조(개인정보의 처리 및 보유 기간)
3년
또는 회원탈퇴시까지5년
(「전자상거래 등에서의 소비자보호에 관한3년
(「전자상거래 등에서의 소비자보호에 관한2년
이상(개인정보보호위원회 : 개인정보의 안전성 확보조치 기준)
제3조(처리하는 개인정보의 항목)
제4조(개인정보파일 등록 현황)
개인정보파일 검색(privacy.go.kr)| 개인정보파일의 명칭 | 운영근거 / 처리목적 | 개인정보파일에 기록되는 개인정보의 항목 |
보유기간 | |
|---|---|---|---|---|
| 학술연구정보서비스 이용자 가입정보 | 한국교육학술정보원법 정보추제 동의 | 필수 | ID, 비밀번호, 성명, 생년월일, 신분(직업구분), 이메일, 소속분야, 웹진메일 수신동의 여부 | 3년 또는 탈퇴시 |
| 선택 | 소속기관명, 소속도서관명, 학과/부서명, 학번/직원번호, 휴대전화, 주소 | |||
제5조(개인정보의 제3자 제공)
제6조(개인정보 처리업무의 위탁)
제7조(개인정보의 파기 절차 및 방법)
제8조(정보주체와 법정대리인의 권리·의무 및 그 행사 방법)
제9조(개인정보의 안전성 확보조치)
제10조(개인정보 자동 수집 장치의 설치·운영 및 거부)
제11조(개인정보 보호책임자)
| 구분 | 담당자 | 연락처 |
|---|---|---|
| KERIS 개인정보 보호책임자 | 정보보호본부 안재호 |
- 이메일 : jinuk@keris.or.kr - 전화번호 : 053-714-0158 - 팩스번호 : 053-714-0195 |
| KERIS 개인정보 보호담당자 | 개인정보보호부 송진욱 | |
| RISS 개인정보 보호책임자 | 교육학술데이터본부 정광훈 |
- 이메일 : giltizen@keris.or.kr - 전화번호 : 053-714-0149 - 팩스번호 : 053-714-0194 |
| RISS 개인정보 보호담당자 | 학술진흥부 길원진 |
제12조(개인정보의 열람청구를 접수·처리하는 부서)
제13조(정보주체의 권익침해에 대한 구제방법)
제14조(추가적인 이용ㆍ제공 판단기준)
제15조(개인정보 처리방침의 변경)
자동로그아웃 안내
닫기인증오류 안내
닫기귀하께서는 휴면계정 전환 후 1년동안 회원정보 수집 및 이용에 대한
재동의를 하지 않으신 관계로 개인정보가 삭제되었습니다.
(참조 : RISS 이용약관 및 개인정보처리방침)
신규회원으로 가입하여 이용 부탁 드리며, 추가 문의는 고객센터로 연락 바랍니다.
- 기존 아이디 재사용 불가
휴면계정 안내
RISS는 [표준개인정보 보호지침]에 따라 2년을 주기로 개인정보 수집·이용에 관하여 (재)동의를 받고 있으며, (재)동의를 하지 않을 경우, 휴면계정으로 전환됩니다.
(※ 휴면계정은 원문이용 및 복사/대출 서비스를 이용할 수 없습니다.)
휴면계정으로 전환된 후 1년간 회원정보 수집·이용에 대한 재동의를 하지 않을 경우, RISS에서 자동탈퇴 및 개인정보가 삭제처리 됩니다.
고객센터 1599-3122
ARS번호+1번(회원가입 및 정보수정)