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.

전이와 서사적 채워 넣기 : 텍스트 읽(어내)기의 수행성

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

이 논문은 전이 현상이 독자/분석가와 텍스트/내담자 사이에 어떤 경로를 통해 발생하는지 그 출발점을 재구하고, 전이 현상을 활성화시킬 수 있는 ‘시의 서사화 활동’ 방법을 제시하는 것을 목표로 한다. 분석가와 내담자, 독자와 텍스트 사이에 전이가 발생한다는 점에서 분석가와 독자는 상동적인 수행성을 발휘한다. 분석가와 내담자가 수행하는 꿈의 의미탐구 과정은 양자 공동의 ‘구성’ 작업이다. 이때 분석가는 내담자의 파편적인 진술 사이의 빈틈을 채워 넣어야 하는데 독자의 텍스트 읽어내기도 이와 동일하다. 분석가가 내담자의 의식의 빈틈을 채워 넣는 것은 독자가 텍스트의 심층 서사구조를 서사적 채워 넣기를 통해 읽어내는 것이다. 이것이 전이 현상이다. 서사적 채워 넣기의 시작점으로 스타니슬랍스키 시스템의 ‘만약에(나라면) magic if’를 활용하여 독자/분석가는 텍스트/내담자를 향한 감정이입-공감의 첫걸음을 내딛게 된다. 시의 서사화 활동은 감정이입-공감을 유발하는 실천적인 방법이다. 시의 서사화 활동 방법은 매 질문마다 시텍스트를 처음 읽듯이 반복해서 읽으며 주관적으로 연상되는 바를 답하는 것이다. 이 작업은 독자(-내담자)로 하여금 시텍스트를 대상으로 전이를 활성화시키는 과정이다. 이것은 내담자가 전의식 상태에 흩어져 있는 흔적들, 자기이야기를 발견하고 재해석하게 만드는 것에 일차적 목적이 있다. 분석가는 시의 서사화 활동의 결과물인 내담자의 자기서사를 통해 궁극적으로 내담자의 자기이야기를 ‘구성’할 수 있어야 한다. 이때 분석가는 내담자와 교류 과정에서 스스로 통찰할 수 있도록 답이 아닌 질문을 던지는 촉매자의 위치에 있어야 한다. 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.

스타니슬랍스키 스스템의 주어진 상황에 대한 교수-학습 모형(1) - 시텍스트를 매개로 하여 -

홍재범 ( Jae Beom Hong ) 한국연극학회 2002 한국연극학 Vol.0 No.19

In this study, the instruction of serial training by poetry-text has as an object to understand a given circumstance and to see through an actual diversity that cannot be prescribed by abstract word. And beyond them, how a given circumstance divides into external and internal situation and in which to recognize systematic relation with improbable physical action and to be oneself are important. This study aims at development of instruction-learning model for those. To carry out instruction of acting by poetry-text, the precondition is in removing learners negative inclination toward poetry-text. If psychological barrier is removed, a learner will face creatively with steps presented by an instructor. Before regular learning course, an instructor should introduce a learner into fundamental comprehension and sympathy with a speaker. For this, a learner has better use a text chosen by himself or herself. Even thought a text must be presented to a learner, an instructor ought not to appoint a specific poetry-text but to categorize a sphere and make a learner find a poetry-text in it. The secondary step is to recognize an external situation by comprehension of discrimination between poetry-texts in identical category. When a given circumstance is obscure, different with general feeling and in a similar given circumstance, a learner shall believe that it can take various shapes in comparison with poetry-texts. An instructor has better lead a learner to experience in displaying of rich imagination by distinguishing several texts of which external situation are distinct from others among learners chosen texts. The third step is to rediscover creation and action of internal situation by rehearsing each poetry-text. An instructor concentrates on that a learner acquires through individual reflective thought how to make a given circumstance more precisely and actually constructed and subsequent to achieve being-self. In this system recognition step is that an actor prepares an emotion for creation and a ground for experience in his or her mind through analyzing and puts life into a given circumstance to arise genuine desire naturally. This study tried to present graduate instruction-learning model that carries out that an actors probable imagination and reflective thought can make a given circumstance of drama text into being-self. If an actor loses actual quality of a given circumstance and is staying at obscure emotion that wasn`t elaborately analyzed, a stage will demolish the authenticity of a specific circumstance. The essential condition that enhances Korean theatre artistic value shall be arranged by actors outstanding capability. More elaborate and effective instruction-learning model and various instructive methods shall be developed vividly.

스타니슬랍스키 시스템의 주어진 상황에 대한 교수-학습 모형(2) -소설텍스트를 매개로-

홍재범 ( Jae Beom Hong ) 한국연극학회 2003 한국연극학 Vol.0 No.20

This study tried to present graduate instruction-learning model that carries out that an actors probable imagination and reflective thought can make a given circumstance of drama text into being-self. If an actor loses actual quality of a given circumstance and is staying at obscure emotion that wasn`t elaborately analyzed, a stage will demolish the authenticity of a specific circumstance. The essential condition that enhances Korean theatre artistic value shall be arranged by actors outstanding capability. More elaborate and effective instruction-learning model and various instructive methods shall be developed vividly. In this study, the instruction of serial training by novel-text has as an object to understand a given circumstance and to see through an actual diversity that cannot be prescribed by abstract word. And beyond them, how a given circumstance divides into external and internal situation and in which to recognize systematic relation with improbable physical and to be oneself are important. This study aims at development of instruction-learning model for those. To carry out instruction of acting by novel-text, the precondition is in removing learners negative inclination toward novel-text. If psychological barrier is removed, a learner will face creatively with steps presented by an instructor. Before regular learning course, an instructor should introduce a learner into fundamental comprehension and sympathy with a character. For this, a learner has better use a text chosen by himself or herself. Even thought a text must be presented to a learner, an instructor ought not to appoint a specific novel-text but to categorize a sphere and make a learner find a novel-text in it. The secondary step is to recognize an external situation by comprehension of historical background in a novel-text. When a given circumstance is obscure, different with general feeling and in a similar given circumstance, a learner shall believe that it can take various shapes in comparison with characters in a novel-text. An instructor has better lead a learner to experience in displaying of rich imagination by distinguishing several features of which external situation are distinct from others among learners chosen characters. The third step is to rediscover creation and action of internal situation by rehearsing each character in a novel-text. An instructor concentrates on that a learner acquires through individual reflective thought how to make a given circumstance more precisely and actually constructed and subsequent to achieve being-self. In this lesson, a learner will be sure that a physical action fully animates a given circumstance and suitably corresponds with what to be probably imagined from a novel-text. This is completed in recognition step of Stanislavsky system. In this system recognition step is that an actor prepares an emotion for creation and an ground for experience in his or her mind through analyzing and puts life into a given circumstance to arise genuine desire naturally.

소설의 시나리오 전환 과정 고찰 : 〈우리들의 행복한 시간〉의 경우

홍재범(Hong Jae-beom) 한국근대문학회 2009 한국근대문학연구 Vol.10 No.1

본고는 소설 〈우리들의 행복한 시간〉이 시나리오로 전환되면서 나타난 세부적인 변화의 원인을 매체의 성격과 결부지어 고찰하고자 한다. 거시적으로는 동일하나 미시적으로는 차이가 발견되는 두 텍스트 사이에서 변화의 동력은 매체와 양식의 차이에서 비롯된다. 원작과 시나리오는 공통적으로 사형제도의 본질적 한계 속에서 유정과 윤수의 사랑과 용서에 대한 발견-깨달음(anagnorisis)의 과정을 형상화하고 있다. 다만 그 형상화 방식에 있어 원작이 모든 상황이 종료된 후 1인칭 화자의 사색적인 반성적 사고의 흐름이 서술되는 것과 달리 시나리오는 영상매체에 부합하는 인물들의 과잉된 감정에서 비롯되는 행위에 의한 시각화가 중심이 된다. 그 과정에서 시나리오는 두 가지 변화를 일으킨다. 첫 번째는 원작의 사실들이 많은 부분 그대로 차용되지만 극양식이 요구하는 극의 문법에 맞게 변형된다. 특히 시간적으로 간격이 존재하는 두 사건을 연속된 시간으로 연결시켜 하나의 장면으로 구성한다. 두 번째는 원작의 화자가 현재적 시점에서 과거의 사실들을 회상하고 평가하는 의식의 흐름이 인물들의 행위로 전환되지 못한 채 삭제될 수밖에 없었다. This study is aimed at speculating on the cause of detailed changes presented in a novel(〈Our happy moments〉) when it was converted to a movie scenario(〈Maundy Thursday〉), by relating it with the characteristics of media. They are comprehensively identical, but microscopic view on the two texts reveal changes, which are derived from the differences in media and style. The original text and the movie scenario commonly embody the procedure of reaching the discovery-recognition(anagnorisis) of love and forgiveness between Yoo-Jeong and Yoon-Soo within the substantial restrictions of death penalty system. However, the mode of materialization between the two texts differ in that the original text predicates the flow of cognitive and reflective contemplation of the first person narrator after all the situations are over, while the movie scenario focuses on visualizing the behaviors of the characters who conform to image medium, which are originated from their exaggerated emotions. Through the procedure, the scenario provokes two changes. First, while it borrows the majority of facts from the original text without modification, they are transformed to fit in the grammar of a drama. In particular, the two incidents with apparent time difference are connected to a consecutive period to organize a screen. Second, the flow of consciousness by the narrator of the original text that reflect and evaluate past facts from the present fails to convert into the characters' behaviors, and is deleted.

스타니슬랍스키 시스템 연기용어에 대한 고찰 ( 2 ) - 현장 적용 방식을 중심으로 -

홍재범(Jae Beom Hong) 한국연극학회 2002 한국연극학 Vol.0 No.18

This thesis, in the light of Stanislavski system, concerns several acting terms mainly used in stage production of Korea these days. Among the most essential and frequently used terms in Stanislavski terminology are ‘the given circumstance’, ‘mental and physical condition(jagam)’, ‘etude’, which Korean theater has not recognized sufficiently until now, and thus passed over. It shows that Stanislavski system known to Korea has been only a part of the whole. If Korean theater achieves the proper understanding of these conceptions and their practical methods, and applies them to dramatic performance, Stanislavski system will give more contribution to the development of Korean theater. Above all, the lack of understanding the given circumstance brings about a serious problem putting an overemphasis on the emotional side in stage acting. In order to understand the given circumstance in particular text, an actor, prior to the acting ability, is required to have the reading ability, that is, he should have both literary imagination to grasp the characterization and main action of the text, and knowledge to comprehend historical and social background of the text. Based on this, he should also fill the narrative gap in accordance with the super-objective of the text so as to completely construct a character. If so, he is prepared to practice the character. Performing a role needs three steps, namely perception, experience, and representation of the character. The understanding of the given circumstance is obtained during the first perceiving step in which the actor analyzes and estimates the text. In Korean theater, the first step is so neglected that an actor more depends on the ambiguous emotion contained in the speech than the precise recognition of the given circumstance. Besides, the lack of understanding the given circumstance causes excessive promises. Without the common understanding for the given circumstance, an actor might be bewildered by an unexpected action of his counterpart. If an actor performs an action on the stage, which is not agreed upon previously in the practice, it means, in most cases, a mistake. It cannot be said, of course, that there is no mistake at all with a common understanding of the given circumstance. However, by the shared understanding, if not an actor`s critical mistake or deviation, when he offers an unexpected action that is not shown before in the practice, the counterpart may be able to respond and adapt to it with a comparatively proper impromptu. The excessive agreements, fundamentally cutting off these extempore responses, communions and adaptations, produce fossilized responses. Stanislavski system make good use of the etude to cultivate actor`s extempore communion ability and adaptability. Etude cannot be over emphasized for it is a practical means to train an actor. It consists of ‘the given circumstance’, ‘the objective’, and ‘the action to realize the objective’. However similar a character in the text may be to an actor himself, a certain distance between them exists. The way the character speaks, decided by the author, also differs from the way an actor speaks. It is one of the various functions of etude to help an actor to narrow down the gap between himself and the character he assumes.

1930년대 한국 대증비극에 나타난 자유연애결혼과 사회적 갈등

홍재범(Hong Jae-Beom) 한국현대문학회 2002 한국현대문학연구 Vol.0 No.11

만화의 시나리오 전환 과정 고찰(1)

홍재범(Hong Jae-beom) 한국현대문학회 2007 한국현대문학연구 Vol.0 No.23

본고는 만화 〈올드 보이〉가 시나리오를 전환되는 과정에 대해 구명한다. 영화 〈올드 보이〉는 일본 원작 만화를 각색하여 영화화한 것이다. 통상적으로 각색의 과정에서 변화의 주요 동력은 주제의식의 차이에서 발생하며 〈올드 보이〉 역시 마찬가지이다. 원작은 인간의 존재론적인 고독을 주제의식으로 삼고있다. 만화 〈올드 보이〉가 시나리오 〈올드 보이〉로 각색되면서 가장 크게 변화된 것은 주제의식이다. 시나리오 〈올드 보이〉의 주제의식은 복수의 대상과 결부되어 있다. 그것은 죄의식이다. 죄의식을 불러일으킨 최초의 원인제공자인 오대수의 말과 누나를 죽음으로 몰아간 이우진의 죄의식이다. 이우진의 죄의식이 오대수에게 투사되어 그를 감금하게 만드는 서사의 추동력으로 작용한다. 만화의 영화화 과정에서 발생하는 이러한 변화는 매체 성격의 상이함에 의해 필연적이라는 특징을 지닌다. 만화가 제시하고 있는 감금의 원인은 인물의 행위가 사건의 중심이 되는 영화 매체에서는 수용하기 곤란한 것이다. 지나치게 관념적인 내용의 장면들을 그대로 영상으로 옮겨 올 경우 관객들은 흥미를 느끼기 어렵다. 이를 해결하기 위한 매개사건이 근친상간적 사랑과 말의 힘(소문)이다. 이 과정에서 인물의 추가와 성격변화가 발생하고 주어진 상황이 변경되었다. 이러한 변화를 통해 부각되는 주제의식은 인간의 자유의지와 진정한 사랑의 한계이다. 이러한 주제의식이 관객들에게 강한 호소력을 지닐 수 있는 것은 그것이 발견-깨달음과 함께 이루어지는 급전이 발생하기 때문이다. 원작은 결말에서 인물의 내면을 고양시키는 발견-깨달음이 부재한다. 시나리오 〈올드 보이〉는 새로운 주제의식을 구현하기 위해 주어진 상황과 인물의 성격을 유기적으로 결합하여 변화시킴으로써 원작의 평면성을 넘어서는 성과를 거두었다. 그 결과 각색 행위의 창조적 가치를 탁월하게 제시하였다. Focusing on the conversion of a comics into a scenario at the level of written text, this paper examined the adaptation of Old Boy(a comics). The movie Old Boy is an adaptation of Japanese comics. It is often observed that the gap between the original and the adapted is subject matter, and Old Boy is the same case. The comics deals with the ontological solitude of humanity. This theme has changed a lot when the comics was adapted into movie. The scenario Old Boy focuses on revenge. And revenge is caused by guilty. The guilty is Lee Woo Jin’s. His guilty made his sister suicide. His guilty was reflected into Oh Daesoo and made Lee himself imprison Oh. Such change emerging from the adaptation of comics into move is inevitable due to the difference of medium. The reason of imprisonment in the comics is hardly receptive for movie. As actions centres around event in it. The audience would not be interested when too much ideal things are transferred on the film. To avoid this, the movie employs the incestuous love and the power of speech, rumour. Here, another characters have been created and personality and given circumstances changed. Through this change, man’s will to freedom and the limitation of true love came to be the theme of the movie. The power of the theme into the audience is due to the fact that it comes with discovery-awareness. In it, a character experiences heightening his inner nature. The cartoon goes without discovery-awareness. The scenario Old Boy succeeded in overcoming the flatness of the original. It changed original materials and, at the same time, organically combined given circumstances and characters. And it built up the new subject matter. As a result of this, the excellent creativeness of adaptation has emerged.

서사변형의 내용-형식적 동학 : 소설 〈DMZ〉에서 영화 〈공동경비구역 JSA〉로의 경우

홍재범(Hong Jae-beom) 한국근대문학회 2010 한국근대문학연구 Vol.11 No.1

본고는 소설 〈DMZ〉이 영화 〈JSA〉로 매체 전환되는 과정에서 발생하는 서사변형의 동학을 내용과 형식의 층위에서 구명하고자 하였다. 모든 각색의 과정에서 발생하는 변화의 원인은 본질적으로 두 가지에서 비롯된다. 하나는 주제의식(내용)의 변경이고 다른 하나는 매체(형식)의 차이이다. 〈JSA〉는 주제의식을 구현하는 하나의 전체적 행위와 유기적으로 결합되지 않는 사실, 즉 베르사미 소령의 과거와 현재의 내면을 지배하고 있는 아버지 이연우에 대한 애증의 감정과 수혁의 삶의 조건을 삭제하는 것을 통해 원작과 명확하게 달라졌다. 그와 동시에 관객들이 영상을 매개로 서사를 인지한다는 사실을 의도적으로 활용하여 서사의 덩어리를 크게 셋으로 나눈 다음 시간 순서를 바꿔 결합시키고 있다. 이때 관객의 정서적 리얼리즘을 자극하는 에피소드를 추가하여 상황의 비현실성을 무마한다. 시각적으로는 클로즈업된 동그라미(부엉이의 눈, 총탄 구멍, 눈동자 등)의 이미지를 전편에 걸쳐 반복적으로 활용함으로서 플래시백으로 시간의 순서가 전도된 서사를 무리없이 연결시키고 있다. 이러한 영상편집이 관객의 심리적 인과관계를 창조하는데 효과적으로 기능하여 관객으로 하여금 완결된 느낌을 갖도록 유도하였다. Focusing on the dynamics of the narrative transformation of a novel into a cinema, this paper examined the adaptation of 〈DMZ〉 into 〈JSA〉. Basic aspects of conversion from the one into the other are a phase adjustment of compositive elements on the condition of life, as well narrative impletion of both the subject matter and the dramatic space on the basis of experiences of a receiver, here a adapter as a second creator. Two texts' basic deferences are caused from the that of media between the novel and the cinema. In the novel 〈DMZ〉, most of incidents beside one were explained by an inspector, writer with slides at the end of the novel, but in the cinema 〈JSA〉, the incidents were visually presented one by one following the time table, which making a climax structure. The most reformed part of the conversion is the structure of text.

김승옥의 시나리오에 나타난 산업화 양상

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

본고는 김승옥의 시나리오에 나타나는 산업화의 양상을 두 층위에서 고찰하고자 한다. 김승옥의 시나리오 작업은 당시 한국 사회의 산업화의 양상을 당대 대중들의 감수성에 효과적으로 조응하여 수행되었다. 그중에서도 <영자의 전성시대>(1975)와 <여자들만 사는 거리>(1976)는 산업화의 외적, 내적 두 층위에서 빚어지는 양상을 압축적으로 형상화하고 있다는 점에서 주목을 요한다. 1970년대 중반 한국 사회는 근대/산업화의 문제점이 표면화되는 시점이라 할 수 있다. 두 텍스트는 표층에서 대중적인 ‘호스티스 멜로드라마’ 장르로 묶일 수 있지만, 그 심층의 내적 논리는 산업화의 발현 양상으로 읽어낼 수 있다. 김승옥은 그 양상을 크게 두 층위에서 표현하고 있다. 첫 번째는 인물들의 삶의 물리적 환경으로서 존재하는데, 적응하기 어려운 속도로 표상된다. 산업화 과정에서 발생한 여러 직업을 거치며 사회의 밑바닥으로 전락해 가는 인물의 역정을 도시화가 파생시키는 새로운 공간들과의 관련 속에서 묘사한다. 두 번째로 표층에서는 산업화와 무관하게 보일 수 있으나 심층에서는 산업화의 내적 원리로서 근대화의 성장담론과 산업화를 달성하기 위해 개개인에게 요구하는 노동윤리를 인물 내부에서 내면화된 형태로 제시한다. 김승옥은 산업화가 야기하는 사회구조적 문제를 개인의 근면과 자조 그리고 긍정적 삶의 태도를 통해 극복할 수 있다는 논리를 해피엔딩의 결말로 암시한다. 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.