Earticle

Characters are the representations of various ages and the spokespersons of people in the corresponding age. Since the rise of realism, natural acting and characters of similarity created sympathy with people through reality. The Russian psychological inner acting school won a worldwide fame for K. S. Stanislavsky’s system and the system is being utilized actively in acting education. Although this system is being popularized, however, we often see cases that actors and actresses concentrate on emotion instead of utilizing the system efficiently in building up the character of their roles. Thus, this study focused on role creation in staged scenes centering on actresses at the Sovremennik Theatre in Moscow, which is the aesthetic mirror of Russian contemporary drama continuing the line of Stanislavski in the 19th century. Taking as examples the successful role creation by three actresses from different generations Marina Neyolova, Elena Yakovleva and Chulpan Khamatova, we identified maine lements as follows. Identified elements include the super-objectives of characters, through actions, sub-texts, character and character building based on characteristic specificity, adaptation, and inner creative state. All the parts of the system may be basic to contemporary actors and actresses, but accurate analysis and character create the inner and outer creative states of actors and actresses feeling and moving autonomously in situations. The usefulness of Stanislavsky’s system should be recognized and utilized actively not only in basic acting but also in various role creations. Soveremennik Theatre, which searches for Stanislavski's system and method of physical actions and creates the representations of time fit for his persevering challenging spirit and the contemporary age, must be the genuine heritage of Stanislavski.

Up to this day, the concept of “reproduction” in art activities has played the most important role in setting forth the principle of realization of art. By considering art as direct copy or imitation of nature, Aristotle as well as Plato raising a question on the efficiency of ‘art’ agreed that art consists of reproduction based on mimesis, the aesthetic concept regulating art. Thereafter, the concept of mimesis of Greece was the central concept controlling art theories and philosophies throughout Renaissance and Neo-Classicism. Until the beginning of the 19th century, art trends had changed their forms by constantly changing their names, but their ultimate objective was to attain a perfect reproduction, that is, transparency. However, with the invention of a camera in the middleofthe 19th century, an aesthetic value of reproduction that had been undoubted for a long time caused fundamental skepticism and a painting could not stick to the methodology of reproduction due to transparency of reproduction generated by a photo. As such, technical enhancement represented by a camera has caused the change in paradigm of art trend, called as ‘Crisis of Reproduction’, and also brought about transformation of perspective of epistemology. However, the crisis of reproduction was actually realized from the late 20th century. The concepts of simulation and simulacre suggested by Gilles Deleuze, Jacques Derrida, Jean Baudrillard and Jean F. Lyotard meant original impossibility of reproduction as well as absence of the original for basis of reproduction. The advent of digital images accompanied by introduction of a computer increased the ‘Crisis of Reproduction’ and the absence of the original form was considered as natural in the modern society. Such advent of digital technology caused many changes across overall industry and culture. Currently, Internet or smart device is an integration of digital technologies as well as an innovative existence of media. Such development of digital technologies led to the change in paradigm of media and also transformed creation of images and manner of consumption. As such, with the development of digital technologies, industrial society was changed into information society, and thus new paradigm of media was emerged across overall industry, which has a significant influence on the change in environment of performance art. Breaking away from the framework of contents in which actual actors showed, they have been expanded into a new concept in the area of performance art, depending on the change of media environments, such as appearance of virtual actors through 3D simulation technique. In addition, the development of digital images have changed the behavior of consumption of images, and such changes brought about the change in audience’s previous awareness of actors.

From its start as a public curiosity for displaying a few moments of black and white soundless footage of “actualities”, film slowly developed diversity of genre and creatively over the following decades into a major financial enterprise. The Study on flow Evolution of genre in Korea Movie and the investigation into a New Direction of the it. Therefore, the researcher to investigate for the diversification of genre in korea movie to analysis the acceptance phase of the notion of genre and processing of diversification of genre. As a result, It was able to realize the notion of genre has been changing with the values of the time and audience of expectation. It is also, Prior to the 1950s, that reflects well on the notion of genre and at that time, Critics was beginning to get the energy of the notion of genre. It also led the way to a new, more advanced cinema. They settled down to a discussion of the genre of movie at the 1990s and based on analysis of it is formed from the discussion. This diversity is a breath of fresh air into the movie. But the diversity was reduced at the 2000s, The problem was the result of big companies have repeatedly produced a success genre. Therefore, The study suggested a rescue plan to investigate for the diversification of genre in korea movie.

Traditionally, actor's performance is enhanced by make-up and props. However, with the advancement of visual technology in cinema, TV, and advertisement, scope of acting is also changing. The following will demonstrate the rapid advancement in visual technology and its relevance to acting. Actor, in ideal setting, is completely immersed in his character to the extent he loses his own identity but rarely he loses his appearance. Using "emotion capture" technology as seen in Rise of the Planet Apes, even the actor's appearance is hidden in character. Actors are revered for their "thousand faces." Now, using "emotion capture" technology, actor's capacity is almost infinite. This research will demonstrate that technology will not replace traditional acting roles but enhance it and expand it to new heights as more and more new technology come of age.

This paper studied the drama <Mutter Courage und ihre Kinder>, which is directed by Yoon-tak Lee, with aim to search Korean style drama. Lee is a representative drama director in Korea who has been continuously worked in the field since 1986, seeking a Korean style of drama. Perceptions, emotions, and images in Korea were the general basis of his works, from his origin works to the western dramas that he accepted. I, the author, selected the drama <Mutter Courage und ihre Kinder>directed by Lee and performed by <Street Theatre Troup> in 2006, in order to scrutinize the directing style of Lee. The drama was performed in honor of the 50th anniversary of Bertolt Brecht's death. The reason I chose the work is that the performances shows the highest degree of perfection of all the western dramas that has been accepted by Lee. This work transformed all the theatric signs, from the cultural base that contribute to the dramatic conditions to the specific expressing method. I, the researcher, derived the 4 characteristics of Lee's directing style from the performance of <Mutter Courage und ihre Kinder>, including transformation of text, audiovisual images, sound and move of Korean style. The characteristics of directing style of Lee, which were showed in the performance of <Mutter Courage und ihre Kinder> were found to be influenced by acceptance of western drama, modernizing of Korean traditional performance, and the popular theatre. Those three trends are not separated, but they are in complementary relationships each other. And they are embodied in the concrete events in the drama. Moreover, that Lee created Korean epic theatre by grafting Korean traditional performance, while he is not acceptance on the Brecht's theory, is aspecific demonstration that the acceptance of western dramas on the base of Korean style is significantly advanced. Eventually, the characteristics of Lee's directing style have the purpose to make Korean style theatres. Therefore, studying the directing style of Yoon-tak Lee is very meaningful theme, when searching direction by Korean style.

"Ji Young, How do you feel?" A professor, Kristin Linklater, asked by laying her hands on my belly and back of my neck individually. During the class of Shakespeare's Acting, she helped me doing monologue of Portia, “The merchant of venice”. It was the first class and I felt pressure for English. So, my body leaned forward continuously and I felt that my voice was stayed in my throat without taking forward because of the tension. So, a professor let me lower my upper body and come up slowly from sacrum by breathing. And then, when speaking my lines, not only I relaxed but also I concentrated on my role and shed tears that I didn't think at all. I studied abroad. And, her voice training relieved my nervousness at first and let English touch of my true voice while memorizing my lines. Especially, through the Shakespeare's lines which have lots of movement, my voice was heard comfortably with actual movement and deep breathing. In the voice training, there are Warm-up and Sound&Movement. Warm-up relieved the courses voice is passed and Sound&movement moved body, so unnecessary tension is eliminated and sound is load on free breathing. Not only the training but also Shakespeare's individual voice training of Kristin Linklater are coached, so the training of lines and sound and movement are related freely. This thesis intends to study on voice training intensively through Shakespeare's text which are the most effective for me among the various training courses and in addition to it, divide voice training by progress with my own experience with Kristin Linklater. They are Sound and Image, Sound and Role Creation, Sound and Monologue, Sound and Acting Scenes. In conclusion, it's necessary to find an action and receive the training expressing with body so as to Freeing the voice training through the movement efficiently. Through it, the purposes of this sentence are to create more plentiful and various roles as well as to help to find own true voice.

Largely a product of the 20th century, the American musical as we now know it is the first theatrical form developed in the U.S. The changes the form has undergone are in many ways reflections of the political, social, cultural, and ultimately metaphysical changes the world went through over the last century. In the history of the musicals the single most influential musical was <Oklahoma!>, the first collaborative work of Richard Rodgers and Oscar Hammerstein II, which had its premiere in 1943. It is the show that ushered in what many musical theater scholars refer to as the golden age of the Broadway musical - from the mid 1940s to the mid 1960s. <Oklahoma!>'s most important influence was its structure meaning the book must be the spine from all the other element of a show grow organically, thus elevating the level of the musical from a mere popular entertainment to the regular form of art. However, until 1960's when Abe Burrows appeared, despite efforts of Rodgers and Hammerstein, the Broadway musical still remained a stereotyped format with hollow optimism in happy ending. Burrows is now best known as a librettist of Broadway musical plays like <How to Succeed in Business Without Really Trying>, which received the prestigeous Pulitzer Prize, <Guys & Dolls>, <Silk Stockings>, <Can-Can> and one straight play <Cactus Flower>. The present paper focuses on Burrow's two representative musical works, <Guys & Dolls> and <How to Succeed in Business Without Really Trying> and tries to analyze those musical plays to prove that they succeeded in achieving what might be called musical theater realism until finally attaining the level of modern dramatic view of life. The premiere of <Guys & Dolls> on Broadway was in 1950. It ran for 1200 performances and won the Tony Award for Best Musical. Perhaps the most durable of all American musical comedies, it is so tightly written, has such vibrant characters and at the same time its intentionally contrived happy ending suggest that the newly wed's future might not be as bright as it looks when the hero catches cold from the heroine right before the curtain falls. Burrow's next hit musical, <How to Succeed in Business Without Really Trying>, a parody of corporate climbing and opportunism, was about as far from a Rodgers and Hammerstein's naive optimistic theme as could be imagined. It was a study in cynicism as uncompromising for a broadway musical as it was unprecedented. The musical opened at the 46th Street Theatre on Broadway in October 1961, running for 1,417 performance.