지원사업
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
This study will concentrate on the specific analysis of Michael Chekhov’s unique film acting theory and practical aspects of character acting technique in terms of alternative screen acting system nowadays. The term itself ‘Method acting’, which can be also named as ‘American Method acting’ was created by American acting teacher Lee Strasberg who has been a found of modern hollywood acting system. However in terms of practical screen acting, this ‘method’ skills could not satisfied the true need of american film actors. But Micheal Chekhov, who was against the emotional memory technique of method acting, suggested physical screen acting system. In fact Michael Chekhov’s screen acting technique had some practical and very specific acting techniques of film character acting. His own unique system of character acting was effective in terms of practical character acting in any genre films. While American method acting was very popular, Chekhov’s unique but practical physical screen acting became famous for its specific and effective screen character acting. Michael Chekhov also created very specific film acting skills for character acting. Chekhov denied a naturalistic style of performance of Stanislavsky but also he tried his best to create the unique physical screen character acting techniques. Even Stella Adler or Sanford Meisner, the modern film acting teachers of ‘Post-Method acting theories’ praised the useful skills of Chekhov’s acting theory. Therefore this study intends to analysis and also criticize Chekhov’s screen acting theory in terms of ‘effective’ character acting. Also this paper will focus on the future practical and ideal film character acting with using Chekhov’s classical film acting skills. My main objective of this research will be to discover and create the new ideal film character acting skill and theory using both Chekhov’s practical acting skills and Post-Method acting theories including Adler and Meisner’s acting techniques.
목차
1, 서론
2. 마이클 체홉의 영화연기술 : 비메소드 캐릭터 연기의 정수
3. 체홉 캐릭터 연기술의 핵심
4. 체홉과 후기 메소드 연기론의 차이 : 철저한 사전준비를 통한 캐릭터 창조
5. 체홉 캐릭터 연기술의 예시 : 메소드 연기술과의 비교
6. 결론 : 대안적 영화연기론으로써의 체홉 연기술
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Abstract
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UCI(KEPA) : I410-ECN-0101-2014-688-003180486