A Korean Approach to Actor Training

A Korean Approach to Actor Training develops a vital, intercultural method of performer training, introducing Korean and more broadly East Asian discourses into contemporary training and acting practice.

A Korean Approach to Actor Training develops a vital, intercultural method of performer training, introducing Korean and more broadly East Asian discourses into contemporary training and acting practice.

This volume examines the psychophysical nature of a performer's creative process, applying Dahnhak, a form of Korean meditation, and its central principle of ki-energy, to the processes and dramaturgies of acting. A practitioner as well as a scholar, Jeungsook Yoo draws upon her own experiences of training and performing, addressing productions including Bald Soprano (2004), Water Station (2004) and Playing 'The Maids' (2013-2015).

A significant contribution to contemporary acting theory, A Korean Approach to Actor Training provides a fresh outlook on performer training which will be invaluable to scholars and practitioners alike.

Autorentext

Jeungsook Yoo was recently Head of the World Performance course at East 15 Acting School (UK). She currently teaches at Korea National University of the Arts and Soongsil University (Korea). She holds a PhD from the University of Exeter (UK). She is co-founder with Sunhee Kim of Theatre P'yut (Seoul), and is an actress and director.

Klappentext

A Korean Approach to Actor Training develops a vital, intercultural method of performer training, introducing Korean and more broadly East Asian discourses into contemporary training and acting practice.

Inhalt

Chapter 1: Introduction Toward Gained Nature in Artificiality

1. An Intercultural and Psychophysical Approach to Acting and Actor Training

2. Meditation and Acting as a Psychophysical 'Technique' **

3. Tao, Te and Kungfu
   Chapter 2: Dahnhak Meditation Recovering Sensitivity Toward Mastery

1. Introduction to Dahnhak
   Dahnhak

   Ki in Dahnhak

   Three Principles

   Three Methods ** Dahnhak Practice

2. Three Methods Practice *
   Chapter 3: The Bald Soprano* Forming an Active-Passive Relationship

1. Introduction

2. From Paper to Time and Space The Nature of Acting Acting A Psychophysical Activity

   Words Psychophysical Vibration

3. Forming an Active-Passive Relationship to a Psychophysical Score A Process of Creating a Score

Space as a Channel Resonance

Integration

Chapter 4: The Water Station Moving Ki in Inner and Outer Space

1. Introduction

2. A Starting Point of Acting A Way of Appreciation

3. The 'Visible' and the 'Invisible'

4. A Design of Awareness and Ki Moving Ki in Time and Space Scene 1 GIRL

   Scene 2 TWO MEN

   Scene 3 WOMAN WITH A PRASOL

   Scene 9 THE GIRL

5. Autonomy of the Ki-Flow Chapter 5: Playing 'the Maids' Tuning Emotional Ki

1. Introduction

2. The Korean Imagination Han and Salpuri Dance * Salpuri Dance Embodiment of Han*

   Han The Aesthetics of Fermentation

3. Emotion as Ki
   Emotion in the Context of Its Embodiment

   Tunable Elements of Emotional Ki

4. Tuning the Characteristics of Emotional Ki
   'I Can Not'

   'Release of Han Dance (Salpuri) and Vocal Duet'

5. A Character's Emotion and an Actor's Emotion Chapter 6: Conclusion A Theory of Sympathy

Bibliography