연기 교수법 모형 개발 연구 -‘낯섦’(Uncanny)의 관점으로 본 배우의 ‘현존’에 대한 고찰 Ⅰ-

초록

This study is aimed at proposing a new perspective on acting methods by reinterpreting the meaning of ‘actor’s presence’ presented by Post-drama. Especially, it is based on the philosophical discussion in terms of the concept of ‘unfamiliarity’ that began with the Freudian theory, ‘Uncanny‘. Firstly, this study tries to derive a fundamental understanding of the ‘actor’s presence’ of Post-drama from focusing ‘a new perspective’ that led to transition of the era. In the early 20th century, the Freudian theory of unconsciousness caused radical cracks in numerous ways of thinking that humans had always believed to be true. It provoked not only raising a question about laws and system governed by human consciousness, but also being emerged a new point of view that the truth can exist even in invisible. As a result, theories that are immersed in the reality of ‘truth’ in various aspects have drawn attention. In the process of these chronological change, Freud argued that the sense of "Uncanny" in humans is not unfamiliar, but rather ‘fear’ that occurs when a familiar object feels the opposite. In particular, Lacan and Bart continued to expand the concept of ‘Uncanny’ based on the ‘Post-Subjectivity’, confessing from various angles that ‘unfamiliarity’ is involved in the moment when humans perceive ‘now, this moment’ on their own. This study has judged that their arguments on ‘unfamiliarity’ were representative examples to confirm that humans chose a new perspective to face the reality of uncertainty by completely breaking away from the thinking system of Cogito, which had pursued absolute truth. Accordingly, under the premise that the fundamental thinking of art centered on ‘narrative’ until modern times is the first proposition of Cogito, this study tries to derive a clear meaning for ‘actor’s presence’ that is still considered ambiguous under the influence of Post-drama by reinterpreting the specific cause and logical basis of that a new art after the 20th century has utilized the strategy of ‘unfamiliarity’ based on de-centrality. Secondly, based on the above argument, this study tries to prove the effectiveness of acting methods that deals with ‘actor’s presence’. Since the theatrical forms that emerged in the 20th century began to reject narrative, questions have been raised about the effectiveness of the previous methodologies based on realism. In particular, after the appearance of Post-drama, the art of acting has also undergone a comprehensive review to reflect on the fundamental significance of not only the human body and energy but also the exchange with the audience. As a result, the actor has been placed on a new position as a person who has to directly experience the rediscovered ‘now, this moment’ centered on relationship with the others. This means that the perspective of the art of acting has changed from the fictional characters in the play of narrative to the relationship between a existent performer and humans, including the audience. Furthermore, the actor has reached a point where she/he should clearly recognize to be in a completely ‘different situation’ as the source of communication and the person who has to exchange a sense of ‘presence’ with others at the same time. In this context, this study has judged that the interpretation of ‘actor’s presence’ in the contemporary philosophy and art that led to modern era could be applied to various acting methods under the premise that the ‘actor’s presence’ in Post-drama differs from the actor’s will power or consciousness.

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