장면 연출의 추상적 평면화 = A abstract, plane delineation for a Scene-directing

다국어 초록 (Multilingual Abstract)

This thesis is focused especially on possibility of a abstract, plane delineation in a scene-directing for a director. Traditionally director’s tools, so called, thecnics of scene composition, acting area, level, space, focus, actor’s bodyposiont on the stage are technics which are based on ‘Perspective’. If we have another purpose in a scene-directing as a director, that is, not to imitate, but to make something abstract, and plane delineation, we have to apply different principal and technics as follows: ⑴ use of mask of actors ⑵ use of the general uniform instead of character’s costume. ⑶ simple lighting for brightness, not for atmosphere. ⑷ forbid to dramaic music and effects. ⑸ use of multi-focus in stage ⑹ forbid to imitate someone or something for representation. ⑺ forbid to use of the dramatic plot. The time and space without perspective is seen a flat space like a korean traditional painting from Chung Sun or Sin Yunpok in Chosun dynasty. In apart from a real world, things in this oriental painting are accented more bigger because that is more important than others for the painters. As s result of these attempt, spectacles on the stage are reflection of energy, vitality and universal One. There are not a mere imitation of an object any more, but a sort of abstract and flat. Logically, it is not important for a director, how it is similar to the object, but how it is transformed from ‘real’ to ‘abstract and flat’. That is why the ‘action-spot’ is essence of scene-expression for a director. In the work of a abstract, plane delineation, trial to express something on the stage becomes process of the creation of energy, vitality and a universal One. The director have to repeat this action-spot till success of communication with spectators.

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