노역 발성법 연구 - ≪아나스포라≫의 기석철 역할을 중심으로 = A Research Study on the Vocalization Methods Used in Acting Roles for Elderly Characters - Focused on Role of Seok-cheol Gi in《Anaspora》

다국어 초록 (Multilingual Abstract)

Currently in the theater play industry of Korea, there are two types of actors that can be categorized based on their vocalization methods used when performing acting roles for elderly characters, where one group of actors believes that actors should not change their voice when performing an acting roles for elderly characters so that they can act genuinely in their own voice, as opposed to the other group of actors that believes that actors must convey that they are an actual embodiments of the elderly character they are playing to the audience through detailed expression and acting. This research was conducted under the assumption that even when an actor changes their acting voice, if they go through adequate training and rehearsing they will be able to act and perform freely based on a natural impulse.
The researcher of this research study started conducting personal rehearsals and background and reference research on the role of the elderly character, Seok-cheol Gi, even before official rehearsals for the play ≪Anaspora≫ began. In the early stages of rehearsal, the researcher of this research study focused on the general thought processes and physical state of an elderly character to attempt to achieve expressing a voice that is similar to that of an elderly character, and by starting with the most basic breathing techniques and methods for vocalization, the researcher of this research study practiced making a similar vocal tone to that of an elderly character and also rehearsed the appropriate articulation techniques. These attempts and rehearsal sessions made it possible to indirectly control the functions of the vocal chords that are known to be difficult to directly control during vocalization, and as a result it became possible to approach vocalizing the voice of an elderly character with more ease.
Through repetitive practice, the researcher of this research study attempted to minimize the rituals of consciousness required to express the voice of an elderly character. While the process of forming a habit to rehearse and practice for an acting role can be perceived to be a impeding factor for attempting to achieve ‘lively and dynamic acting’, on the other had the forming of a habit that enables instinctive practicing even when a particular ritual of consciousness is not conducted serves as a reaction to stimulation and allows the actor to engage in immediate and dynamic acting performance. In essence, the researcher of this research study was able to minimize the rituals of consciousness that are required to control the voice made when acting for a character role through repeated practice, and the researcher was also able to express his lines in the voice of an elderly character while at the same time performing a lively and dynamic acting performance that was not affected or impeded from having to make the voice. Based on the results above, this research study will provide practical guidance to young actors that are experiencing difficulties associated with having to emulate and express the voice of an elderly character.

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