이머시브 연극에서 배우의 현존 연구 - 배우의 아우라를 중심으로 = A study on the presence of actors in immersive theater - Focusing on the actor’s aura
저자
발행기관
학술지명
권호사항
발행연도
2023
작성언어
-주제어
KDC
600
자료형태
학술저널
수록면
5-30(26쪽)
제공처
Unlike other artistic media, theater shares ‘the present moment’ in the same space as the audience. In this sense, ‘presence’ is an essential condition for theater. As its meaning is divided and accumulated in various ways depending on how this condition is interpreted and utilized, the concept of presence has become the center of many debates in both theoretical and practical aspects. Among the various elements that appear on stage, the actor's presence was a major subject of consideration in the discussion on presence because the actor experiences the time of the work together and is a living and transformable being. Accordingly, many theater directors, acting theorists, actors, etc. have continued research for a long time to define the meaning of presence, and various trainings and attempts have been implemented.
If we look at the meaning of presence in terms of universal discourse, the dictionary definition of presence means ‘being alive at present.’ Since the actors on stage are all alive, they can be said to be present, but the fact that actors on stage are alive means something different from biologically breathing and moving. Therefore, presence on stage is not something that comes naturally to everyone, and all actors must strive to be present. In a play, an actor performs planned and intended actions and reproduces something in order to achieve a specific goal. In other words, the actor's presence in a play can be said to be the point at which the two aspects of the actor's existence - the intender of representation and the medium of representation - intersect. Therefore, actors are also artists who create works, like directors and playwrights, and their presence in theater, which is a representational art, is also a point where artists and artistic media overlap.
Plays have changed in various ways according to the times; site-specific performances that started with Environmental Theater by Richard Schechner in the 1960s; post-drama theater developed in the 1990s; immersive theater that emerged in the 2000s. There is a need to look into how the meaning of presence can be interpreted in plays. First, among existing studies that have examined the meaning of presence, the main meanings mentioned are as follows. Seo Na-young mentioned that the presence of an actor on stage is an expression of the actor's presence toward the audience, created through a relationship with the audience, so the presence of the audience is essential. Furthermore, in Choi Soi-young's case, the process of an actor’s body becoming tired or the appearance of it being exhausted actually happens in front of the audience's eyes, so communication with the audience beyond the technical aspects created through practice in line with the changes that occur according to the tired actor's physical condition and finding a new response every time was explained as presence. Lastly, in the case of Choi Hee-beom, the actor's presence in a play is explained as the point where two aspects of the actor's existence, the intention of representation and the medium of representation, intersect.
In this study, we will examine the meaning of presence by connecting the previously studied meaning of presence with the aura of actors appearing in immersive plays. This is because the meaning of presence as being 'currently alive' is expressed by the actor showing the aura. In other words, the actor with the aura on stage can show that he or she is 'currently alive', so presence and aura are said to be an organic relationship.. Therefore, this study aims to take an overview of the three existing perspectives on the actor's presence and discuss their directions. Afterwards, it will describe the immersive experience along with the background of the immersive play. Lastly, it goes on to mention the correlation between the actor's presence and aura and deals with the actor's presence in immersive theater. Based on this, it will describe the organic relationship between the actor's aura and presence in immersive theater and ultimately examine the meaning of presence.
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