[연극(1)] 영원한 ‘연극 산책자’의 모습

임승태 현대미학사 2018 공연과 리뷰 Vol.24 No.2

햄릿과 광증의 멀티버스

임승태 공연과이론을위한모임 2022 공연과 이론 Vol.- No.86

특별세션 : 백두산 형성과 지하수

임승태 대한지질공학회 2014 대한지질공학회 학술발표회논문집 Vol.2014 No.1

비극 너머로:「구일만 햄릿」과 동시대 한국 다큐멘터리 연극의 스펙트럼

임승태 영미문학연구회 2015 안과 밖 Vol.0 No.39

Contemporary Korean documentary theatre has a broad spectrum: from a critique of mass media to rearrangement of the relationship between the real and the fictional, more directors and spectators pay attention to this form as an alternative to staging social and political matters. Hamlet Only for Nine Days, in which laid-off factory workers play one of the most famous Shakespearean tragedies, shows what happened during the reinstatement struggle in blending tragedy with documentary, performance with rehearsal, and stage with screen. Understanding why they identified themselves with the prince of Denmark is not difficult. It was no easy task, however, for amateur actors to impersonate someone with whom they had a deep empathy. In order to act Hamlet and his opponents, they had to keep reminding themselves of their own traumatic experience for the past seven years. Reference to audio-visual documents grants audience members easier access to emotions of unskilled and untreated actors. Although the opportunity for restoring rights remains remote, over three thousand days of struggle including nine days of Hamlet have made them all-round performing artists.

내부 비평가의 마음으로

임승태 공연과이론을위한모임 2021 공연과 이론 Vol.- No.83

언덕을 오르는 마삼식을 누가 죽였나

임승태 공연과이론을위한모임 2017 공연과 이론 Vol.- No.68

Structure Characterization and Antihypertensive Effect of an Antioxidant Peptide Purified from Alcalase Hydrolysate of Velvet Antler

임승태,이승홍 한국축산식품학회 2023 한국축산식품학회지 Vol.43 No.1

Recently, interest in food-derived bioactive peptides as promising ingredients for the prevention and improvement of hypertension is increasing. The purpose of this study was to determine the structure and antihypertensive effect of an antioxidant peptide purified from velvet antler in a previous study and evaluate its potential as a various bioactive peptide. Molecular weight (MW) and amino acid sequences of the purified peptide were determined by quadrupole time-of-flight electrospray ionization mass spectroscopy. The angiotensin I-converting enzyme (ACE) inhibition activity of the purified peptide was assessed by enzyme reaction methods and in silico molecular docking analysis to determine the interaction between the purified peptide and ACE. Also, antihypertensive effect of the purified peptide in spontaneously hypertensive rats (SHRs) was investigated. The purified antioxidant peptide was identified to be a pentapeptide Asp-Asn-Arg-Tyr-Tyr with a MW of 730.31 Da. This pentapeptide showed potent inhibition activity against ACE (IC50 value, 3.72 μM). Molecular docking studies revealed a good and stable binding affinity between purified peptide and ACE and indicated that the purified peptide could interact with HOH2570, ARG522, ARG124, GLU143, HIS387, TRP357, and GLU403 residues of ACE. Furthermore, oral administration of the pentapeptide significantly reduced blood pressure in SHRs. The pentapeptide derived from enzymatic hydrolysate of velvet antler is an excellent ACE inhibitor. It might be effectively applied as an animal-based functional food ingredient.

셰익스피어의 변장과 방백의 극작술을 통해 본 햄릿의 광기

임승태(Seungtae Im) 한국셰익스피어학회 2015 셰익스피어 비평 Vol.51 No.1

It is hard to clarify whether Hamlet’s madness is pretended or not, only with his words and deeds. Once it is supposed so, however, his madness can be compared with other characters who disguise themselves in the play. In general, hiding one’s identity provides a useful solution to the present problems. In Shakespearean disguise, more focus is given to the effect and new difficulties that the perfect concealment makes rather than how it is realized. Aside is another device called upon by the isolated characters who need to tell what they really feel to the audience. By sharing the secret, the audience join to wish them back to the original identity. Hamlet in disguise of a mad man, however, refers not so much about his inner self as about his opponents. The absence of self-awareness is not just an exception but a minus device, which in itself enables to represent his ambivalent attitude towards madness. Hamlet needs madness for doing vengeance as well as escape from King’s surveillance, yet his mind does not allow this pseudo-identity to overwhelm him. Although resistance to madness, in which he sometimes fails, results in not only the delay of the action but also multiple casualties including his own death, he finally saves the noble mind, the true inheritance of his father. This paper examines how Shakespeare appropriates both the source and his own devices in order to describe a psychological crisis.

체호프 극에 나타난 예언 장치 ╶ 「갈매기」, 「세 자매」, 「벚나무 동산」을 중심으로╶

임승태(Seung Tae Im) 경희대학교 산학협력단 예술디자인연구원 2018 예술· 디자인학연구 Vol.21 No.2

체호프의 후기 장막극에는 등장인물이 미래를 예측하는장면이 빈번히 등장한다. 일반적으로 드라마에서 사용되는 예언적 담화는 플롯 전개 과정에서 그 내용의 성취여부를 확인할 수 있다. 하지만 체호프의 예언은 극 안에서 도래하지 않는 먼 미래에 관한 것이라는 점에서 그의 간접 행동과 더불어 예외적이다. 이 글에서는 체호프의 4대 장막극 중 「갈매기」, 「세 자매」, 「벚나무 동산」 을 통해 미래 전망의 담화가 어떠한 방식으로 체홉의 혁신적 극작술에 기여하는지를 검토한다. 극중 인물들이극에서 도래하지 않는 먼 미래를 전망하는 것은 표면적으로는 피상적이고 부차적인 것으로 보이지만, 극 안에서 도래하는 가까운 미래에 예언에 상응하는 내용이 실현됨으로써 미래 전망의 대사는 복잡한 시간 구조 안에서 극적 갈등을 형성하는 데 기여한다. 예언의 시점과그 내용이 성취되는 시점을 다르게 하는 것은 시간의 일치를 추구한 전통적 극작술에서 벗어나 극적 시간이라는 개념에 더 많은 자유와 유연성을 부여한 실험으로 평가할 수 있다. Some characters in Chekhov's late plays often make a passionate speech on the future. Prophetic discourse in the drama is generally supposed to reveal within the plot development whether it is achieved or not. Along with his unique way of handling the dramatic action indirectly, Chekhov is also exceptional in using the prophecy device because what his characters foretold is not about the near future that is to come within the dramatic time of the play but about the remote one. This article examines the foretelling talks and speeches in 「 The Seagull」, 「The Three Sisters」 and 「The Cherry Orchard」, and how they contribute to Chekov's dramaturgical innovation. Being made toward the distant future, predictions in these plays may seem at first sight to be superficial and unnecessary to the main plot. However, when the upcoming event and situation are found so corresponding to the prophecy, the prediction discourse can be seen to contribute to making a dramatic tension in a complex time structure. The time discrepancy that Chekhov made between the prediction and the accomplishment can thus be evaluated as a modern experiment to challenge the traditional unity of time and to give the concept of dramatic time more freedom and flexibility.

오필리아와 가상의 꽃

임승태(Seungtae Im) 한국셰익스피어학회 2017 셰익스피어 비평 Vol.53 No.2

Flowers have been used as important stage properties for the representation of Ophelia’s mental disorder. Because Ophelia’s mad speech and Gertrude’s report about her death are composed with visually sensitive words, one can easily imagine her giving flowers or making garlands by the stream. It should be reconsidered, however, to conclude that these lines are evidently implicit stage-directions for her to bring and distribute real flowers. It is questionable whether Ophelia has a firm relationship with flowers, and whether the various kinds of flowers mentioned in the text have to be accompanied by her during the stage representation. The major opinion about this matter has been that the flowers are real stage props, and that each flower is brought to each designated character. I make an objection to these interpretations in this paper, especially to Harold Jenkins’, with the consideration both of the dramatic situation and the original stage directions of the early editions. The proposition that the association of Ophelia and flowers is not real but fantastic not only corresponds with the text but also allows stage practitioners to achieve freer and more creative rendition of Ophelia’s insanity.