연기지도 방법론 연구 = A study on Method for Acting Directions

다국어 초록 (Multilingual Abstract)

While the director acts as a guide and interpreter to all members of the production, his own efforts at carrying out plans are restricted primarily. to his with the actors. He supervises rehearsal, explains the script, criticizes performances, and makes suggestions for improvements. He attempts to create an atmosphere in which actors can feel freedom from unnecessary tension while exploring and developing their roles.
The director must try to see each actor as an individual who has his own working methods and problems. For example, some actors accept criticism gracefully in the presence of others, while such public comments make other actors self-conscious or argumentative. Some actors must work first on the psychological aspects of a role, while others prefer to learn the lines and movement first. Some actors need to be handled firmly, others gently. The director must be flexible, therefore, if he is to get the best performance out of each member of his cast.
The director must also remember that the actor's ego is unusually involved in his work. In creating a role, the actor uses his own body, his own voice, his own mind and emotions. He can never put his creation at a distance and look at it as can most other artists. The inadequacies of a performance are in many respects due to the actor's lack of comprehension or perception of a part or even to his own personal inadequacies, and any attack upon his work may be interpreted as a personal affront. The director, therefore, must be tactful and understanding.
The director must also assume the role of the ideal audience. Since an actor can never see his own performance from the point of view of the audience, the director must try to do this for him. The director attempts to assess the probable effect of the acting performances, both individually and as a whole. He seeks to alter, correct, or intensify characterizations wherever necessary so as to achieve the desired response. A director is not infallible, however, and he must be willing to listen sympathetically to the actors' ideas. Although as an efficient executive he must make all important decisions, he should seek always to avoid a dictatorial approach. Much of the success of a production depends upon the director's ability to win the respect and cooperation of the actors. He must be a critic, a teacher, a leader, a friend, and at times a disciplinarian.

목차 (Table of Contents)

• Ⅰ. 서론
• Ⅱ. 본론
• 1. 연기지도의 주의 사항
• 2. 연기의 본질
• 3. 형상화의 기술
• 4. 대사에 대하여
• 5. 동작에 대하여
• 1) 육체훈련
• 2) 육체에 의한 구상
• Ⅲ. 결론
• Summary
• 참고문헌