교류 개념을 중심으로 한 지역연극의 발전전략

홍재범(Hong, Jae-Beom) 서원대학교 미래창조연구원 2007 과학과 문화 Vol.4 No.3

에쮸드 연행의 자기치료 과정과 문학적 상상력

홍재범 ( Jae Beom Hong ) 겨레어문학회 2012 겨레어문학 Vol.48 No.-

This study considers the self-therapeutic process of performing an etude among the training methods of the Stanislavskii system and literary imagination as a chance to enhance the effects. In the Stanislavskii system, etudes have the core status with broad-ranged utility from the methods of actor training to the creation of roles in the process of preparing for the actual performance. Even though the training of performing through etudes does not have direct relationship with psychotherapeutic activities, it exhibits self-therapeutic effects according to the participant`s personal disposition. The contents of etudes are determined by voluntary selection among the actual experiences of the agent of performing. The instructor teaches the agent of performing in so that the grammar of a drama consisting of the beginning-middle part-ending can be embodied by the agent`s psycho-physical action. The method is to let the agent himself understand the grammar of a drama with questions. With the repetitive performing processes, some of the agents can act an event of their psychological wound in the past as an etude, and at this time, sometimes, they can experience self-therapeutic effects other than the original purpose of developing performing skills. It consists of three steps: confronting the negative situation (calling in), experiencing the negative situation (experience), and escaping from the negative situation (freedom). In order for performing to exhibit psychotherapeutic effects, they should show impromptu creativity. Impromptu creativity is originated from the ability to see the past situation leading to the wound in a different way. One should have ability to imagine different life to expect new changes. Literary imagination lets the person see his own past wound as an object and alter the conditions consisting of the situation, which stimulates the agent of performing to make trials for previous negative experiences and other kinds of action.

연극과 영상의 혼종적 텍스트, 연쇄극의 형식

홍재범 ( Jae Beom Hong ) 겨레어문학회 2010 겨레어문학 Vol.44 No.-

This study aims to bring a form of kinodrama in Korea modern play art history to Light by considering the existence methods of the formats and image of the fates of kinodrama as hybrid text of play and image which couldn` help finishing for very short time experiment. The kinodrama started for the external purpose as a spectator mobilization but was destined to be ended historically in the moment when the spectators were surfeited. The inner cause of sudden disappearance is that couldn`t accomplish the formal organic combination of the stage and contents of image. Namely, the inserted images were just simple expansion of the stage space which is difficult to be embodied, and the contents of narration had not discriminational characteristic with the popular play which was separated from the present Life in 1910s. However, the individual image which is inserted in kinodrama has no substantive difference with `spectacles`, `tableau` as the formats of Western initial film. Just it couldn`t be developed as film caused by being producing for short time as three years, and it played a role to expand the external part of the play as preliminary form before the Korea film was produced.

김승옥의 시나리오에 나타난 산업화 양상

홍재범(Hong, Jae-beom) 국어국문학회 2016 국어국문학 Vol.- No.176

This study would discuss the aspects of industrialization in Kim Seung-ok’s scenarios on two layers. Kim Seung-ok’s scenario work was performed effectively corresponding the aspects of industrialization of Korean society of the times to the sensitivity of the populace of the times. Of them, “Yeong-ja’s Heydays” (1975) and “Manless Street” (1976) require attention in that they embody the aspects appearing on two layers of industrialization (external and internal layers) concisely. The mid-1970s was a time when the problems of modernity and industrialization were coming to the surface in Korean society. The two texts could be bound as popular ‘hostess melodrama’ genre on the surface layer; however, the inner logic on the deep layer could be read as the aspects of the manifestation of industrialization. Kim Seung-ok expressed these aspects broadly in two layers. The first one exists as the physical environment of the characters’ lives, which is represented by the speed to which people could hardly adapt themselves. He describes the journeys of the characters who are through various jobs during the process of industrialization and fall down to the lowest social stratum in the relations with new spaces derived from urbanization. Second, he suggests labor ethics in a form internalized in the characters, which may seem unrelated to industrialization on the surface layer, while is required from individuals on the deep layer as an inner principle of industrialization in order to achieve the discourse of growth of modernization and industrialization. Kim Seung-ok implies a logic that the problems of the social structure caused by industrialization can be overcome through personal diligence, self-help and positive attitude toward life by concluding them with happy endings.

<출판저널> 연중기획 - '이달의 책, 이달의 저자' "근대의 책읽기" review

홍재범,Hong, Jae-Beom 대한출판문화협회 2003 출판저널 Vol.337 No.-

연극교육과 교육연극 스타니슬랍스키 시스템의 심적 체험과 행위에 의한 극 텍스트 읽기 방법

홍재범 ( Jae Beom Hong ) 한국연극학회 2004 한국연극학 Vol.0 No.23

신체적 행위를 위한 희곡텍스트의 내재적 분석 - <환절기>의 장면 목표와 초목표를 중심으로

홍재범 ( Jae Beom Hong ) 겨레어문학회 2014 겨레어문학 Vol.53 No.-

This study conducts an implicit analysis of the play text for physical actions through drawing scene objectives and a super-objective of Hwanjeolgi (Change of Seasons). This is to read Hwanjeolgi, not from the position of a pure recipient, reader-audience, but from that of a recipient and producer, reader-performer. That is embodied as the formation of a sentence of an object expressed as ‘A does D to (against/in cooperation with) C to do B.’ One of the objects of two sentences in this form, that is, two opposing characters, is chosen as each scene object. It is correctly drawn when the objects of each chosen scene penetrate in a single line and can reach the super-objective organically. In each episode, scene and act, big, small and medium, and important or secondary objects exist. The main characters`` action that penetrates the entire text, concretized through the objects of each unit is called through-going actions. The through-going action in Hwanjeolgi becomes clear at the last scene in which Dae-bin and Na-yeong open their hearts themselves. The intent hidden in superficial actions should be understood again from the beginning based on the ending of Act 5.The through-going action is to develop the super- objective for a writer while it is to actively try to reach that of a performance text for a performer. Thus, on the stage, through-going action of Dae-bin and Na-yeong should be focused on the configuration of the super-objective of Hwanjeolgi. In order to understand their true desires hidden in ambiguous euphemisms, finding an object that boils them down to a single sentence is very effective. The job of forming a sentence of an object is a mirror and lever for a performer``s psycho-physical actions. The process of thinking to find linguistic expressions that could boil down an object to one accurate sentence is itself a time to explore the characters`` inner desires in depth.

번역된 학술용어의 엄밀성에 대한 감각

홍재범 ( Hong Jae-beom ) 겨레어문학회 2022 겨레어문학 Vol.68 No.-

This thesis examines the conceptual strictness required for professional academic terms, focusing on the complexion phenomenon that occurs between everyday and translated academic terms. The first is to select inappropriate words among the various words that can be corresponded to literally when translating English into Korean. Second, the choice of corresponding words by the inertial action of both daily and academic activities is out of the original meaning context and causes the resulting misinterpretation. The typical words are ‘story’ and ‘narrative’, which are the same problems when translating Korean into English, which is often misunderstood as a lack of English speaking skills. Especially, if you want to explain the concept word that is not in English to English native speakers who have not shared historical and cultural experiences with words that are not used well in English, you will be in a difficult situation. Russian 'samochuvstviye' and North Korean 'juche' are typical examples. Since there is no English vocabulary corresponding to these words, it takes a long time and effort to understand the concept and persuade them to accept a newly-coined term. Clearly, just as 26 Korean words were listed in the Oxford English Dictionary in 2021, Korean academic terms should be made to be used in the world academic world. To this end, the methodology of professional terminology should be introduced and collaborated with researchers in the field of study.

전이와 서사적 채워 넣기 : 텍스트 읽(어내)기의 수행성

홍재범 ( Hong Jae-beom ) 겨레어문학회 2024 겨레어문학 Vol.72 No.0

This paper aims to reconstruct the starting point of the path through which the transference phenomenon occurs between the reader/an analyst and the text/client, and to present a method of ‘narrtivization activity of the poem’ that can activate the transference phenomenon. The analyst and the reader show homogeneous performativity in that a transition occurs between the analyst and the client, and between the reader and the text. The process of exploring the meaning of dreams performed by the analyst and the client is a joint ‘construction’ work. At this time, the analyst must fill in the gap between the client's fragmentary statements, and the reader's reading out of the text is the same. What the analyst fills in the gap in the client's consciousness is that the reader reads out the in-depth narrative structure of the text through narrative filling. This is the transference phenomenon. As the starting point of narrative filling, the reader/an analyst takes the first step of empathy for the text/client by using the Stanislavski system's ‘magic if’.‘Narrtivization activity of the poem’ is a practical method of inducing empathy. The method of ‘narrtivization activity ofthe poem’. is to read the text repeatedly as if reading out the text for the first time in every question and answer what is subjectively associated with it. This work is the process of enabling the reader(-the client) to activate the transference tothe poem. The primary purpose is to make the client discover and reinterpret the traces scattered in the state of total consciousness. The analyst should be able to ultimately 'construct' the client's self-story through the client's self-narrative, which is the result of 'narrtivization activity ofthe poem'. At this time, the analyst should be in the position of a catalyst that asks questions, not answers, so that he/she can gain insight into him/herself during the exchange process with the client.

<극적인 것>의 개념과 교수-학습 모형

홍재범 ( Jae Beom Hong ) 한국문학교육학회 2003 문학교육학 Vol.11 No.-

In the beginning of a play, when a character is given a motive to achieve an aim, he or she starts to act and struggle to accomplish his or her mission. At the denouement, the character succeeds or fails. In everyday life, a man always is in a particular circumstance. Likewise, a character in a play is in his or her own given circumstance. All of them are seeking their own meaning in a particular circumstance and taking a subsequent action by interpreting and judging of the meaning. Although a man outside stages experiences a distressing incident, if he returns to everyday life, it is hard to be called `the dramatic`, On the contrary, even though a performer` s slight confusion of reason and emotion does not change him, the gradually accumulating process of changes can be called `the dramatic`. `The dramatic` is a change. Even if the process of a play is either developmental or regressive, the point is change. But all the changes are not dramatic. The change of `the dramatic` involves external and internal qualities. The former is a change of tempo and rhythm that are revealed by body of a character. This change develops to action and shows itself by a change of tempo and rhythm of circumstance originated by action. The latter involves a character`s inner discovery and perception of something new, expansion and deepening of recognition, insight into human nature and existence. `The dramatic` is completed by communication with audience. A receiver also will subjectively experience authenticity of `the dramatic`, when his or her spirit is enhanced by reflective speculation about existential meaning and identity, various stages of life, society and world through the medium of a play.