교육 연극과 소시오드라마를 활용한 영미 드라마 수업 연구

정미경 ( Jung¸ Mi Kyung ) 동국대학교 영어권문화연구소 2018 영어권문화연구 Vol.11 No.1

This article is a case study on the practical process of D.I.E and sociodrama for English and American Drama course. In most of English Literature departments of Korea, the aim of English and American Drama course has been in a binary choice: learning English as a foreign language or having an aesthetic experience through drama. The problem is that if the course’s aim is limited to learning language, it is very likely to reduce traditional western drama based on the body performance into modern knowledge system based on language text. Incidentally, it could lead to failure of proper appreciation for English and American Drama texts. This article explores finding a teaching method model through which students can be exposed to both the cognitive exercise of leaning English language and the aesthetic experience of dramatizing the English and American drama texts. As an exemplar for this, the method for English and American Drama course includes ‘D.I.E’ (Drama in Education) and ‘Sociodrama’ techniques. Based on three drama classes that I have taught since 2016, I explain how I have used the procedure of D.I.E and Sociodrama, then derive a new model for English and American Drama course.

美国实验戏剧的反叛起源与精神符号

刘娟(Juan Liu) YIXIN 출판사 2024 Journal of Humanities and Social Sciences Vol.2 No.2

20 世纪50-60 年代,美国戏剧逐渐走向多元化,继荒诞派戏剧对美国现实主义戏剧和表现主义戏剧造成了冲击后,美国戏剧也从现代戏剧走向了后现代戏剧的探索,实验戏剧以外百老汇和外外百老汇为据点对美国传统戏剧发出了挑战。实验戏剧从内容上开始弱化故事和剧本,转而将大量的艺术创意投入到了形式化的表达当中,通过弱化剧本,强调观演关系、感官感受、场域中的精神状态等与传统的戏剧舞台划分了界限。本文将从美国的文化思潮出发,探索美国实验戏剧反叛传统的精神起源;以美国实验戏剧的代表人物与其作品为例,分析美国实验戏剧在内容与形式上具体特征及趋势,理解美国实验戏剧中所传递出来的后现代主义的精神符号;深度理解美国实验戏剧精神的本质,以及实验戏剧观念所传达出的哲学性讨论。 In the 1950s and 1960s, American theater gradually diversified. Following the impact of the Absurdist theater on American realism and expressionism, American theater also moved from modern theater to exploration of postmodern theater. The experimental theater on Broadway and Broadway posed a challenge to traditional American theater. Experimental drama begins to weaken the story and script in terms of content, and instead invests a large amount of artistic creativity in formal expression. By weakening the script, it emphasizes the relationship between observation and performance, sensory perception, and spiritual state in the field, which distinguishes it from the traditional theatrical stage. This article will start from the cultural trends in the United States and explore the spiritual origins of American experimental drama’s rebellion against tradition; Taking representative figures and their works in American experimental drama as examples, analyze the specific characteristics and trends in content and form of American experimental drama, and understand the postmodern spiritual symbols conveyed in American experimental drama; Deeply understand the essence of the spirit of American experimental drama and the philosophical discussions conveyed by the concept of experimental drama.

August Wilson과 미국 흑인극 정전형성

손동호 한국외국어대학교 외국문학연구소 2002 외국문학연구 Vol.- No.12

At the 1996 annual conference of the Theater Communication Group, a national association of regional theaters, August Wilson was invited to deliver a keynote speech. Wilson's speech turned out to be a shock to many members of the audience including the black writers and theater practitioners. In the speech Wilson issued a warning to the effect that Black theater has been a target for cultural imperialists who seek to propagate their ideas about the world as the only valid ideas. Not a few people expressed doubts and criticisms about the apparent double standard of the speech. Robert Brustein published an article of direct refute about the speech in a magazine and then had a heated debate with Wilson about the issue at New York City's Town Hall. Wilson was known to have benefited the most from the multiculturalist policy of the mainstream theater world. His plays have been successful on Broadway, the center of the Great White Way, and he is now criticizing many black writers and theater practitioners just because they are doing the same thing as him. Why? My essay began as an attempt to investigate the historical background of Wilson's controversial speech. Black Americans have always written plays and put on performances since the arrival of the first blacks on the continent. The problem was that their existence and activities have been thoroughly ignored, or excluded from the attention of the white society until almost the 1960's, when the Black Arts Movement changed the fundamental concept of the black arts in America. The Harlem Renaissance in the 1920's and 30's was the first step for blacks to awake their artistic spirit and create truly black arts in the new continent. It was when W.E.B. Du Bois, then editor of The Crisis magazine, launched a drama contest, and started the Krigwa Little Theater Movement to encourage the blacks involved in the theater movement to write and perform. Du Bois was a radical sociologist who argued for a fight against the white oppression, while Alain Locke emphasized the necessity for black folk arts. Du Bois called for a warrior or a hero as a dramatic character, but the Locke school believed that the artist ought to find the essence of blackness in the ordinary life of common blacks. The history of black theater and drama has been the history of a dialectic struggle between the two opposing schools. LeRoi Jones was the representative theorist and author for the Black Arts Movement in the 1960's and 70's. Jones refused to remain a writer and called for an all out war against the white oppression. He frequently expressed his political views about the racial condition in America. Jones considered the Aristotelian aesthetics to be outdated and useless for the betterment and healing of the seriously divided and deeply hurt communities in America. If the theatre was important for him, it was as long as it could contribute to the changing of the people and the world. His aesthetics of drama resembles the ideas in ‘The Theater of Cruelty’ which Antonin Artaud formulated in The Theater and its Double. Early drafts of Wilson's plays were consistent in their inclusion of extensive storytelling, non-realistic dramatic elements, and a sprawling narrative. But by the time Wilson's plays reached Broadway, they became much more akin to traditional western drama. All of Wilson's dramas have been strongly influenced by the American process of play development as a result of his visits to various institutions such as New Dramatists, the O'Neill Playwrights Conference, the Yale Repertory Theatre, and the Goodman Theatre. It was a process in which new plays were open to significant professional and public review in the course of their creation. The step-by-step process of revision Wilson applied to each of his plays resulted in a melding of his original artistic impulses with mainstream theatrical conventions and it revealed his creative response to the very commercial system within which pla

<영어 연극: 이론과 실제> 수업 사례 연구

김진나(Jin Na Kim) 한국영미문학교육학회 2011 영미문학교육 Vol.15 No.2

A careful observation of the unique values of drama−both as educational material and methodology−dictates the need for the implementation of a drama curriculum. Drama is an abundant resource of practical modern language usage; drama provides opportunity for the individual study of the separate components of a language; drama offers a realistic and faithful portrayal of culture together with its audio-visual aids of setting, costume, lighting and sound effects; drama is a flexible and syncretic approach that encompasses numerous and diverse major language learning approaches; drama facilitates learning by encouraging students to feel, think and do as the characters do; drama functions to reinforce certain psychological factors such as motivation for learning, a sense of belonging and a sense of achievement in the participant. <English Drama Practicum: Theory and Practice>, which is a drama curriculum, combines the study of dramatic texts as literary genre with the actual staging of drama. During the first stage of the semester the students are introduced to: 1) the reading of an article in order to acknowledge a succinct truth that drama is the most suitable vehicle to adopt into the language learning procedure; 2) the reading of diverse dramatic dialogues in an attempt to discover that certain accents and emphases create different meanings and moods; 3) the actual staging of a short play. The students then study the four representative English and American dramas, exploring the background information and analyzing the selected scenes. During the final stage of the semester, the students are responsible for: 1) writing their own drama piece by adapting the foretasted renowned dramas; 2) rehearsing and staging their creative dramatic work; 3) submitting a drama journal. <English Drama Practicum: Theory and Practice> accompanies a serious task, requiring much planning and significant effort. However, it also gives all the participants an opportunity to enjoy themselves while learning and to have fun while tackling a task. Thus is justified the assertion that “In the teaching situation it is the methods used, more than any other factor, that determine the results achieved.”

Remembering the Dissonance : Melancholic Memories in wAve and The Piano Teacher

김태형 한국현대영미드라마학회 2010 현대영미드라마 Vol.23 No.3

This paper examines the melancholic representation of Asian American loss common to two Korean American dramatists, Sung Rno and Julia Cho. The two plays discussed, wAve and The Piano Teacher, interpret Asian American history not only through their sympathetic portrayal of the struggle of living as a minority but also through a wider scope on the American cultural and sociopolitical landscape. Not much can be further said regarding individual and familial suffering on the American stage, considering the country’s history of domestic drama, but what endows these two plays with specificity concerning the psychic condition and their particular historical situation is a cluster of insights that have been formulated in recent Asian American drama. The essay focuses on a type of racial melancholia nurtured in America and analyzes the political motives, economic mechanisms and ideological relations embedded in the familial enclave. It attempts to uncover a hidden underside of violence and wounding. The structure of symptoms observed in the protagonists of two Asian American narratives makes visible the submerged reasons that have led to their suffering and to the identity crises that are symbolized by the initials of their marital names “M” and “K.” Their worlds, which exist only in relation to the dominant social structure, involve a latent repression that hides an inaccessible source of individual and communal existence. This repression never lets the protagonists survive without an ensuing sense of loss. Yet, the two plays do not lay claim solely to Asian American history; rather, they concern Asian and American identity. Being in between cultures signifies the very state of Asian subjects, and this theme is continually invoked by the narratives’ melancholic reflections on loss.

문화연구로 영미드라마 가르치기 - 텍스트/공연, 고급/대중예술의 이분법을 넘어서

최성희(Sung Hee Choi) 한국영미문학교육학회 2006 영미문학교육 Vol.10 No.1

  This article speculates a new approach to teaching drama that overcomes traditional binary oppositions of text/performance, high/low culture by employing cultural studies as an integral methodology and framework. In the academic circle of English literature, people tend to believe the "truth" of drama lies in the consistent, stable, and permanent form of dramatic text written by a sacred author. As a result, performance is considered as marginal and trivial to more serious work of textual studies, and popular culture is largely excluded from scholarly interest. From its origin and by its nature, however, drama has been a vital part of popular culture and drama as a written text cannot be separated from, or fully appreciated/understood apart from drama as a performance. From this premise, I propose a pedagogy of "practical aesthetics" that actively includes performance and popular culture as a way of teaching drama through cultural practice.<BR>  Practical aesthetics, like praxis, is a combined form of mind/theory/art and body/practice/life, which encourages dialectic interactions between the two, and ultimately enables students to make changes both in and out of drama through their own cultural practice. This approach can also let them learn the essence of recent critical theories of postmodernism, all underline the centrality of process and discourse in the concept of Truth and Meaning. For a small graduate seminar, students, instead of doing an actual performance, can conduct a research on the production history to see how the meaning of the play has been constantly challenged and negotiated, depending on the people, time, place, and culture. Either doing an actual performance or doing a research on the production, students move their focus from the author"s original intention or correct interpretation of the play to its particular meaning to particular audience at a particular time. Grounded in a materialist rather than a romantic theory of art and aesthetics, and with emphasis on "participation," "democratization," and "popularization," teaching drama as cultural studies can ultimately restore drama"s relevance to our students" everyday life.

초·중등 영어 학습자의 미국 TV 드라마 활용 수업에 대한 인식과 흥미도

한주현(Han Joo hyun) 조선대학교 교과교육연구소 2017 敎科敎育硏究 Vol.38 No.2

e purpose of this study was to examine the perceptions and the interest of an English class utilizing American TV dramas. For this study, 53 sixth grade elementary school students and 104 third grade middle school students were participated. The questionnaire was composed of 29 items dealing with attitudes towards English learning, the interest in American TV dramas and understanding of using American TV dramas as a source for learning English. In addition to that, six students of them were given an experimental class for four weeks. The survey for students who were given a class was composed of 13 items regarding the interest and 8 items concerning perceptions to soap operas. The results of this study are summarized as follows: First of all, most students in elementary and middle school were interested in taking a class with American TV dramas as a teaching source. Most of the students who did not have a chance to experience the class speculated that it would help them much more than taking an ordinary English class. Especially on improvement in listening and speaking skills, practical English usage, and cultural awareness. Secondly, the students who participated in the experiment had favorable attitudes to English class. Items on cultural recognition and possibility of repeated practice yielded the highest mean scores. Based on the study findings, pedagogical implications are provided.

소셜 빅데이터 분석을 통해 알아본 대중의 ‘미드’에 관한 인식 및 자기주도적 영어학습 행태: 유튜브와 트위터를 중심으로

권은영,이종길,박선욱 영상영어교육학회 2019 영상영어교육 (STEM journal) Vol.20 No.3

The purpose of this study is to explore the Korean public’s perceptions of American TV dramas as well as their self-motivated English learning patterns through an analysis of social media big data. For this purpose, we extracted texts containing the phrase ‘American TV drama’ from Twitter and YouTube, and analyzed them by using network, frequency, and semantic analyses. The study revealed that (1) while the public share information about American TV dramas on Twitter, their opinions and ideas about learning English using American TV dramas are mainly discussed on YouTube; (2) social network analysis of the top 20 words showed that ‘English’ and ‘study’ played a central role in explaining ‘American TV drama’; and (3) the public perceived watching American TV dramas to be a good learning method for self-study of English and suitable for learning the expressions used by native speakers. This study is significant in that (1) text-based data was visually and quantitatively analyzed; (2) it utilized both text mining and social network analysis of the same subject; and (3) more than 2,000 comments on social media enabled access to more specific and natural opinions of the public about the given topic. Pedagogical implications are provided. .

Remembering the Dissonance : Melancholic Memories in wAve and The Piano Teacher

Kim Taehyung(김태형) 한국현대영미드라마학회 2010 현대영미드라마 Vol.23 No.3

This paper examines the melancholic representation of Asian American loss common to two Korean American dramatists, Sung Rno and Julia Cho. The two plays discussed, wAve and The Piano Teacher, interpret Asian American history not only through their sympathetic portrayal of the struggle of living as a minority but also through a wider scope on the American cultural and sociopolitical landscape. Not much can be further said regarding individual and familial suffering on the American stage, considering the country's history of domestic drama, but what endows these two plays with specificity concerning the psychic condition and their particular historical situation is a cluster of insights that have been formulated in recent Asian American drama. The essay focuses on a type of racial melancholia nurtured in America and analyzes the political motives, economic mechanisms and ideological relations embedded in the familial enclave. It attempts to uncover a hidden underside of violence and wounding. The structure of symptoms observed in the protagonists of two Asian American narratives makes visible the submerged reasons that have led to their suffering and to the identity crises that are symbolized by the initials of their marital names "M" and "K." Their worlds, which exist only in relation to the dominant social structure, involve a latent repression that hides an inaccessible source of individual and communal existence. This repression never lets the protagonists survive without an ensuing sense of loss. Yet, the two plays do not lay claim solely to Asian American history; rather, they concern Asian and American identity. Being in between cultures signifies the very state of Asian subjects, and this theme is continually invoked by the narratives' melancholic reflections on loss.

중국 텔레비전 시청자의 드라마 소비 취향 지도

강명구,신혜선,WUCHANGXUE,양수영,바이원잉 한국방송공사 2013 방송 문화 연구 Vol.25 No.1

This study focuses on the ‘Chinese drama consumers’, having structural changes that define the characteristics of the production and consumption of a popular culture in mind. To look at ‘the drama tastes of Chenese viewers’, the study asks such question as ‘how do Chinese consumers of popular culture receive domestic and foreign dramas’. By examining ordinary Chinese people in Beijing, it is possible to draw ‘the map of drama tastes’ which explains the viewing patterns of Hong Kong, Taiwan, America, Japan and Korean dramas and the reasons for watching those dramas. The map reflects how the groups of people with different education and income levels watch dramas. There are four ‘taste profiles’ including 1) ‘realistic logical sensibility’of the low education-high income group, 2) ‘logical comic sensibility’ of the high education-high income group, 3) ‘illogical emotional sensibility’ of the low education low income group, and finally, 4) ‘romantic trendy sensibility’ of the high education low income group. These different sensibilities in turn suggest that there are various groups of Chinese viewers whose tastes are diversified according to different social, economic and cultural capitals they have.