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인문학
인문학 일반 역사학 철학 종교학 어문학 기타 인문학
사회과학
사회과학 일반 경영학 관광학 교육학 군사학 문헌정보학 법학 사회학 신문방송학 심리과학 정치외교학 지리학 행정학 경제학 무역학 인류학 기타 사회과학
자연과학
자연과학 일반 물리학 생물학 생활과학 수학·통계학 천문학 지구과학 화학 기타 자연과학
공학
공학 일반 건축공학 기계공학 산업공학 재료·에너지공학 전기전자공학 조선해양공학 화학공학 컴퓨터학 기타공학
의약학
의학 일반 간호학 수의학 약학 한의학 기초의학 임상의학 기타 의약학
농수해양학
농수해양학 일반 농학 수산학 식품과학 임학 축산학 해상운송학 기타 농수해양학
예술체육학
예술 일반 디자인 미술 미용 사진 음악학 의상 체육 공연매체예술 기타 예술체육학
복합학
학제간연구 과학기술학 뇌인지과학 기술정책 기타 복합학

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논문 기본 정보

자료유형
학술저널
저자정보
저널정보
한국연극학회 한국연극학 한국연극학 제38호
발행연도
2009.1
수록면
121 - 182 (62page)

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초록· 키워드

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These days, we are witnessing an outstanding scientific revolution called ‘cognitive science.’ Cognitive studies in the fields of neuroscience, psychology, linguistics, philosophy, and other disciplines have made a remarkable development in the past twenty years in understanding such cognitive areas as perception, memory, imagination, empathy, emotions, behavior, and meaning-making. In fact, cognitive science is replacing the dominant influences of Freudian psychoanalysis, behaviorism, and semiotics. Scholars in theatre and performance studies are beginning to apply these findings to their field. For the first time in South Korea, I explore the creative process of acting in terms of the new paradigm of cognitive science. In this paper, using the cognitive lens, I look into Stanislavsky's ‘system’ and Brecht's ‘epic style acting’ and reconsider the usefulness of the actor training system as one of the ways of establishing the systematic and scientific actor training program in South Korea. In this paper, I introduce the succinct outline of cognitive science in order to engage the readers who are not quitely familiar with it to my study of science of acting. I apply ideas from cognitive science to illuminate the process of acting through the works of such cognitive scientists as Antonio Damasio, Joseph LeDoux, Gerald Edelman, Steven Pinker, George Lakoff, and Mark Johnson. Methodologically, I adopt interdisciplinary approaches to render a more fruitful discussion about Stanislavsky's system and Brecht's epic style acting. In this paper, I argue that we should not ignore the findings and discoveries of Stanislavsky's system and Brecht's epic style acting due to its old scientific paradigm. On the contrary, I assert, they should be reconstructed from the perspectives and prospects of cognitive science. In the main body of the paper, first, adopting the discoveries and findings from cognitive science, I try to deconstruct the dichotomous division between art/science, body/mind, emotion/reason, consciousness/unconsciousness, inside/ outside of the body. After I postulate the cognitive foundation for actor's bodymind, then, I examine the important conceptual tools of Stanislavsky's system and Brecht's epic style acting: character, role, given circumstances, imagination, attention, empathy, projection, dual consciousness, gestus, etc. At the end, I investigate how these discrete acting methods can converge on the troubled issue of the actor's exploration of creative processes in acting. While I explain these cognitive concepts, I suggest various practical training methods and procedures, which I have tried from the discoveries and findings of cognitive science. Ultimately, I hope that this paper opens up a space for a dialogue about the systematic and scientific actor training programs in South Korea.
#인지연구 #Cognitive Studies) #인지과학 #Cognitive Science) #수행연구 #Performance Studies) #연기의 창조과정 #Creative Process of Acting) #연기 방법론 #Acting Method) #스타니슬라브스키 #Stanislavsky) #브레히트 #Brecht)

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참고문헌 (42)

참고문헌 신청
Appel, Libey / 1982 / Mask Characterization: An Acting Process / Southern Illinois UP google schola Aronson, Arnold / 2000 / The Sceneography of Chekhov, in The Cambridge Companion to Chekhov / Cambridge UP google schola Bentley, Eric / 1981 / The Brecht Commentaries / Grove Press google schola Blair, Ronda / 2006 / Image and Action, in Performance and Cognition / Routledge : 167 ~ 186 google schola Blair, Ronda / 2008 / Actor, Image and Action / Routeledge google schola

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