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.
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.
Inhaltsangabe
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
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
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