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Actor Training and Gender - acting language from the viewpoint of feminism
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배우 훈련과 젠더- 페미니즘의 관점에서 살펴본 연기 언어

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Type
Academic journal
Author
Journal
한국연극학회 한국연극학 한국연극학 제1권 제67호 KCI Accredited Journals
Published
2018.1
Pages
75 - 117 (43page)

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Actor Training and Gender - acting language from the viewpoint of feminism
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Everyday, lots of women and student actress enter acting classes where most of them will receive actor training through sex discriminative or gender-blinded acting language. Yet relatively little acting teachers, coaches and instructors’ consideration has been given to the experience of the student actress: What have been happened to women and student actress in actor training? This thesis confronts the sexism that still exists in actor training and exposes the gender biases embedded within the acting language itself. I will focus on acting languages which have been historically used in actor training from three perspectives. Especially, in relation to actor and role, ‘involvement’ is represented by Stanislavsky; ‘self-renunciation’ is Grotowski, ‘detachment’ is Brecht. Like American Method acting, some variation on the Stanislavsky-based emphasize on ‘truth on the stage.’ However, ‘truth’ in traditional mimesis is inextricably intertwined with cultural assumptions about gender. Also, in Grotowski’s theory of body, it can be confirmed that gender-blinded languages such as ‘neutral’ are used. In Brechtian epic theatre, we can find some alternative acting language yet unpractical. From a feminist perspective, it becomes important to expose the assumptions underlying truth claims made by and on behalf of each acting theory. My research on these three aspect of acting theory and training method represents a brief problematic view of acting languages. It is necessary to bring about new understandings of feminist’s view in acting classroom. It will influence the ways that actor training will be conducted in the future.
#Actor Training #Gender #Sexism #Feminism #Acting Language.

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References (28)

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김대현 / 2012 / 스타니슬랍스키와 ‘시스템’ -시스템 형성의 과정과 그 특성을 중심으로- / 연극교육연구 21(21):5~46 google schola 김방옥 / 2002 / 몸의 연기론(Ⅱ) / 한국연극학 (19):269~332 google schola 김방옥 / 2004 / 한국연극의 사실주의적 연기론 연구*- 그 수용과 전개양상을 중심으로 - / 한국연극학 (22):147~214 dbpia 돌란, 질 / 1999 / 여성주의 연극 이론과 공연: 여성주의 시각으로 연극보기 / 한신문화사 :7 google schola 백승무 / 2014 / 스타니슬랍스키의 모순에 대한 소고 - 오류와 진실 사이에서 - / 드라마 연구 (42):125~155 dbpia

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