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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
In the early stage of 1910's a Korean new school play was taken form like the one of Japanese as the pre-model. Nevertheless the spectators had good experiences to watch the western play through the new school play, and their thoughts of the play were changed. Those who experienced the new school play had the general idea of the play script in the western play. Also the conception of the player was resulted in the change. It was shaped that the modern conception of the player - the player's role was that the player expressed an imaginary character of the drama into the one in a reality through the drama based on a text of a play. This variation in the conception of the player brought on the reduction of the phase of the classical player. The classical players were recognized that they showed only their skill.
They groped various ways to get over this crisis. These were charity performances, new school plays, and joint stages by new school players and classical players. They succeeded to improve their images more or less playing charity performances. But the classical players learned the new school play in a short time and putting the play on the stage was beyond their abilities. Even the classical players from kisaeng's house tried to look for new ways taking a Korean classical opera, they were looked away eventually from onlookers.
In spite of their effort they were pushed out. This was why proprietors ran indoor playhouses and they fixed up the plays for spectators' fondness. Those who already watched new school plays having plots didn't recognize the classical plays as plays any more. Those were only broken pieces. The classical players were strongly conscious that they were not players any more but showed onlookers their skill more and more. Therefore the classical players and new school players came to a rupture deeply.
The Actors within a classical play were described as very creative and independent. Their characterizations of the author's creations exhibited a much more coherent sense of autonomy and flow than what the author strictly wrote. In contemporary plays, however, the characters are formed not only by the actors' interpretations, but they are also strongly influenced by the director's planning and producing. In other words, a contemporary production's success is dependent not only on the independent performances of each actor, but also on mutual cooperation. The acting of a play is an active factor in constructing a play. Audience members who are familiar with new-school plays are able to recognize the difference between new-school and classical plays.
They groped various ways to get over this crisis. These were charity performances, new school plays, and joint stages by new school players and classical players. They succeeded to improve their images more or less playing charity performances. But the classical players learned the new school play in a short time and putting the play on the stage was beyond their abilities. Even the classical players from kisaeng's house tried to look for new ways taking a Korean classical opera, they were looked away eventually from onlookers.
In spite of their effort they were pushed out. This was why proprietors ran indoor playhouses and they fixed up the plays for spectators' fondness. Those who already watched new school plays having plots didn't recognize the classical plays as plays any more. Those were only broken pieces. The classical players were strongly conscious that they were not players any more but showed onlookers their skill more and more. Therefore the classical players and new school players came to a rupture deeply.
The Actors within a classical play were described as very creative and independent. Their characterizations of the author's creations exhibited a much more coherent sense of autonomy and flow than what the author strictly wrote. In contemporary plays, however, the characters are formed not only by the actors' interpretations, but they are also strongly influenced by the director's planning and producing. In other words, a contemporary production's success is dependent not only on the independent performances of each actor, but also on mutual cooperation. The acting of a play is an active factor in constructing a play. Audience members who are familiar with new-school plays are able to recognize the difference between new-school and classical plays.
목차
1. 서론
2. 신파극과 근대적 배우의 등장
3. 고전극 배우들의 위기와 방향모색
4. 근대적 배우 개념의 형성
5. 결론
참고문헌
저자소개
[Abstract]
참고문헌 (21)
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