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논문 기본 정보

자료유형
학술저널
저자정보
김영래 (한양대학교)
저널정보
한국연극교육학회 연극교육연구 연극교육연구 제30권 제30호
발행연도
2017.1
수록면
35 - 63 (29page)

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초록· 키워드

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Cognitive scholar Rudolf Steiner believed that today's language should return to its long-lost essential form, an expression of the human soul through his Eurythmy. He also tried to recover the essence of an ebullient language that has lost its original vitality due to the influence of Western civilization defined by rationalism and dichotomous thinking. Eurythmy can find the lost action of language and regain its true identity that has been integrated by practices. The integration mentioned here is the perfect unification of body, spirit and mind. Therefore, we can say that his Eurythmy is an overall gesture. Language Eurythmy starts from the fundamental introspection and self-reflection of language. By taking a look at the origin of language, the ancient language, we realize that language represents the ‘spirit of human,’ and the ‘power of spirit.’ It utilizes the flow of the universe to visualize the body as a lively form in order to internally express the spirit. It turns the entire body into a vocal apparatus and expresses the inner side through the use of the body. Moreover, this process becomes a motion in open space. Eurythmy begins with vowels and consonants, it expresses the inner actions of human through sounds and images of the language. That is, in the Eurythmy movement, it is natural for vocal expressions to be presented and, similarly, there is special movement in the linguistic voice. Steiner, through Eurythmy, tried to find all of the laws of nature and everything in the hidden realm of nature. In other words, he tried to find life, of which the language possesses. Influenced by Steiner, Chekhov rejected the dichotomous classification of the spiritual and physical world and went on to explore the true nature of each vowel and consonant through Eurythmy which involves both body and spirit. The vowel is a language that expresses inner emotions of humans, and these emotions which associate with psychological elements and spatial concepts are revealed to the outside through physical gestures. Furthermore, Chekhov argued that the instinct to imitate human’s external world generates consonants as some kind of formative feature and insisted that, by physically connecting the perception of external objects, one can experience the features of each consonant. In addition, Chekhov discovered a clue which can be used to replace the actor's personal emotions in Eurythmy and the fact that gestures that are able to clearly express the implications of the sounds of each language must be objective. He believed that, by giving vivid and diverse colors to the physical gestures in response to the actor’s artistic impulse and preference, it will in turn contribute to the actor’s creative desire. Thus, he introduced this idea into psychological gesture, then he corrected and developed his acting methodology.

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