쟝루이 바로의 총체연극 연구

표원섭 한국드라마학회 1997 드라마 論叢 Vol.- No.9

역사극 공연을 위한 시대언어 복원의 의미 연구

표원섭,박윤희 한국엔터테인먼트산업학회 2019 한국엔터테인먼트산업학회논문지 Vol.13 No.2

When writing historical dramas, there was an argument that restoring the language of the times was the responsibility of the playwright, but no full-scale research was done. There was no collaborative study between playwrights and Korean Language scholars. So far, many playwrights have considered it the responsibility of Korean Language scholars to discover and restore language. However, it is a medium that can easily meet the public like a play or movie, and it should have a great responsibility for creation. Language changes with time, so restoring the language of the time in plays and scenarios can lead to difficulties in communicating with modern audiences. However, the change of language according to the times means that it captures the social image and fashion of the time Therefore, language restoration in historical dream means that scenes and backgrounds can be described more realistically. Restore of language is not just necessary to improve the creative environment; it should be understood as the responsibility of the artist to meet the ability of the audience to understand the language of the times already learned. The playwright who writes the historical drama should not only learn the grammar of the background era, but also find out the lost pronunciation and the changed vocabulary so that he can use various dialogues.

통합문화예술교육에 있어서 교육연극의 중심적 역할에 관한 연구

표원섭,임재필 한국연기예술학회 2021 연기예술연구 Vol.24 No.4

본 연구는 지역의 학교 밖 문화예술교육이 점차 통합문화예술교육으로 발전해나가는 현대적 경향 속 에서 연극놀이를 포함한 교육연극의 중심적 역할과 필요성을 살펴보고자 한다. 그래서 통합문화예술교 육과 교육연극의 상호 관계에 대해 논의하고 통합수업과정 사례중심 분석으로 통합문화예술교육의 개념 을 다시 살펴보고, 교육연극의 중심적 역할을 분석하고자 한다. 서울과 멀리 있는 소외 지역의 지역성이 심할수록 전문교사에 의한 문화예술교육의 접근성은 현격히 떨어지고, 그에 반해 지역민들의 요구는 더 더욱 높아지고 있는 실정이다. 이에 한국의 대표적인 문화예술 소외 지역이라 할 수 있는 전남 완도군 고금도에 초등 고학년과 중학생 20명을 대상으로 미술과 연극, 지역 역사 교육이 통합된 전남문화재단 꿈다락토요문화학교사업 통합예술수업 사례분석을 통해 통합문화예술교육에 있어서 교육연극의 실제 적 용 사례와 효용성에 대해 논의하고자 한다. 교육연극의 궁극적 목적이 자신이 자신만의 표현을 자유롭게 할 수 있는 역량을 키워나가는 것이고, 그것을 위해서는 타인과의 관계 속에서 다양한 행동과 형식으로 표현할 수 있어야 하고, 타인과 함께 서로 다름을 인정하고 나누는 문화적 훈련과 예술적 경험이 필요하 다. 이번 통합수업 사례의 특징은 단청을 중심으로 한 미술교육을 주도적 교육 커리큘럼으로 삼고, 그 지 역의 역사를 이해하고 그것을 이야기로 담아내는 연극놀이를 활용한 교육연극을 함께 진행하는 방식이 다. 교육연극은 본연의 탁월한 교육적 기능 이외에도 이렇듯 어떤 다양한 예술분야와 어울려서 그것을 더욱 돋보이게 할 수 있는 역할을 할 수 있는 유용한 예술교육 도구임을 확인하고자 이번 연구를 하고자 한다. In this study, the necessity and role of educational theater techniques including theater play are increasing in integrated culture and arts education amid the tendency of local culture and arts education to gradually develop into integrated culture and arts education. Therefore, I would like to discuss the relationship and role of integrated culture and arts education and educational theater and analyze them based on cases. The more severe the locality of the underprivileged area far from Seoul, the less accessibility of culture and arts education by professional teachers, while the demands of local residents are increasing. We would like to discuss the practical application and effectiveness of educational theater in integrated culture and arts education through the case analysis of 20 elementary and middle school students in Gogeumdo, Wando-gun, Jeollanam-do. The ultimate purpose of educational theater is to develop one's ability to express oneself freely, and for that, one must be able to express in various actions and forms in relationships with others, and cultural training and artistic experience of acknowledging and sharing differences with others. The characteristic of this integrated class case is that art education centered on Dancheong(traditional multicolored paintwork on wooden buildings) is used as a leading educational curriculum, and educational plays using theatrical games that understand the history of the region and capture it as a story. In addition to its natural excellent educational function, I would like to study that educational theater is a useful art education tool that can play a role in making it stand out in harmony with various art fields.

연극 연기자의 화술 훈련 방법에 관한 조사 연구 : 경북 지역 극단을 중심으로

표원섭 청주대학교 학술연구소 2009 淸大學術論集 Vol.13 No.S-3

연극연출의 작품선정에 관한 사례 연구

표원섭 한국엔터테인먼트산업학회 2014 한국엔터테인먼트산업학회논문지 Vol.8 No.1

The first important duty of directing in producing theatre is to select a play to perform. The standards of selecting good works includes being worthy of producing, trying to deliver something to the contemporary audience, the work that actors themselves can understand and create, the play that has high completion level, the work that can give truth to the audience, the work that directing team can handle, number of actors, ability, space, technical and economic conditions, and so on. In addition, it is important to judge whether or not a work is the one that can give a message to the audience, a work is consistent with the thought of directing team, a work can show its own color, and through the case study, we could see that the standards of selecting play, such as open-structure play, author’s aesthetic depth, artistic completion level, sociality and the importance of audience’s emotion today, are followed by those who select play.

20세기 상주연극사

표원섭,윤현주 한국엔터테인먼트산업학회 2017 한국엔터테인먼트산업학회논문지 Vol.11 No.8

Art can serve as a guide to unlimited possibilities and paths for us, Culture is a valuable thing that takes up a great deal of weight in our lives. There are many things in the center of culture that encompass the whole human life, but the most important factor is art. Known for its three hundred faults, Sang ju has a geopolitical significance from ancient times and can be said to have influenced various aspects in the past. I would like to recall the history of the theater in the history of modern culture and art in the Changzhou area and to understand the process of accumulation, development and development of the theater culture. By studying the theatrical history of Sang ju in this way, I think that it is a very valuable thing to establish a new theater in Korea, Especially, the field of art and culture that has made our residence in our region will serve as a valuable guidebook and material to look forward to the future with the past.

2018 평창 동계패럴림픽 연출의 표현 특성

표원섭,김낙형 한국엔터테인먼트산업학회 2018 한국엔터테인먼트산업학회논문지 Vol.12 No.8

This thesis has an aim to look throughly upon thematic composition & directorial approaches and its’ characteristic features created for the opening & closing ceremonies of Pyeongchang paralympics games 2018. As for the paralympics, it not only represents sportsmanship & the festivity based on cultural contents of the host nation, but also has another important motto carrying the value that reflects it is a festival for the disabled; an distinction that must be featured in main directorial approaches and its’ characteristics. In this thesis, rather than relying on intact records, documentational resources or on the historic archives, the research was made based on specific and actual directorial practices that was taken in making of the opening & closing ceremonies of Pyeongchang Paralympics. Especially, this study focused on analysing 1) cultural performances of the opening ceremony and 2) Extinguishment of the paralympics flame as to sort out the directoral features. The distinguishing directoral features of these events, compared to other ceremonies of the mentioned, could be laid out as‘spatial presence((liveness)’, ‘thematic features in the space’ and ‘scene overlapping’. Through theses characteristic features, the main performances minimalized the narrative aspects and delivered to audiences vivid ‘here-and-now’ performative experiences. Also by creating main thematic performances that combines dualistic referentiality of the actual & thematic environment, ‘Pyeongchang,’ and the irregularity occurred by scene overlapping has enabled audiences multi-layered perceptional experiences & participations.

한국 전통연희극의 서사구조 연구 - 강릉관노가면극 중심으로 -

표원섭,이돈용 한국엔터테인먼트산업학회 2019 한국엔터테인먼트산업학회논문지 Vol.13 No.2

한국의 전통연희극을 저급한 것, 체계화되지 않은것, 극이라고 할 수 없는 것 등으로 인식하는 시선이 많다. 그러나 연희극 중에는 완벽한 서사구조를갖는 이야기로써 풀어내는 극이 분명히 존재한다. 서양의 비극 이론을 그대로 수용하고 있는 미얄과장에서부터 코미디의 원형인 러브스토리를 담아내고 있는 강릉관노가면극에 이르기까지 많은 연희극들이 그 내용은 매우 간략하더라도 서사의 요소들을 담백하게 담아내고 있다. 지금까지 전해져 내려오는 연희극 중 완벽한 서사구조를 지닌 개체가 매우 적은 것이 사실이다. 이것들을 발굴해내고 복원하는 것은 연구자들의 몫이며, 동시대 철학에 맞게 새롭게 만들어내는 것은 창작예술인들의 과제다. 이 두 분야가 원활하게 소통을 한다면 우리 전통 연희극의 미래를 지금보다 더밝게 내다볼 수 있을 것이다. 이로써 한국 전통 연희를 세계 시장에 과감히 스며들도록 하는 것 또한앞으로 풀어야 할 과제로 자리 잡을 것이다.

연극연출에서의 후각과 촉각에 관한 연구 : 연기훈련 방법의 사례를 중심으로

표원섭 청주대학교 학술연구소 2017 淸大學術論集 Vol.29 No.-

Directors create performance works in play is to deliver actual meaning in the work through dramatic atmosphere to audiences. For communication with audiences based on emotional stimulation, theatre directors are trying to develop innovative methods through dissolving script, environment and visual images. When such verbal factors disappear and significances decrease, the preference of director make visual, auditory, olfactory and tactual delivery as significant expression method and now developing the actors' playing through experiment. In play, in order to understand how sense of smell, taste and touching utilized as expression method as creative symbol in directing to communicate with audiences, this study examined cases of acting training using olfactoral, taste and tactile as it seems its significance is on training of actor for creation of acting. As for the acting training cases utilizing sense of olfactoral, taste an,d tactile the study examined training method for each of the senses such as extensive olfactoral training and olfactoral detecting training; extensive taste training, taste training, smelling and taste training; different tactile for 3 different materials training, tactile memory training, tactile with blindfolds training, and contact training through room and practice room. Such process of examination well explained the significance in new type of creative symbol expression method in theatre directing along with its significance.

연극제작과정에서 희곡분석의 첫인상 정리에 관한 연구

표원섭 청주대학교 학술연구소 2015 淸大學術論集 Vol.24 No.-

Theater production is a complex process where many artists such as the director, actors and staff participate to identify the potential of the play and communicate it to the audience. In order to do so, an analysis of the play is required to understand the composition and meaning of the play and elicit audience participation. The first step in reading and analyzing a play consists of a first impression through the first read. First impressions refer to reading the play repeatedly until one can envision the play into what it would look like on stage. In the first reading stage, all those who are involved in the production of the play take part to analyze the play and therefore a specific first-reading method is required. Among first-reading methods are one that takes on the perspective of the director, one that takes on the perspective of the actor and the more general method for the director, actors and staff. In order to understand the first-reading methods in practicing the production of a play, a survey was conducted on those who participated in the production of the play Seagull by the department of Theatre at Cheongju University. The method of compiling first impressions was reviewed on the method using an approach from the perspective of production, a method with the more general perspective of a director, of an actor and of the general staff, and the methods used in the case of Seagull. In particular, the study served as a good opportunity to verify how the method of first impression compilation was understood and applied in the production of theatre at universities. The study confirmed that the compilation of first impressions, which is the first step in analyzing a play, has great significance in envisioning and implementing the play, which was evidenced in the case study of Seagull.