재현적 연기와 시뮬라크르적 연기 = Mimetic acting and simulative acting

다국어 초록 (Multilingual Abstract)

This thesis is focused on two aspects of acting, the representational and the simulative. Since tragedy is defined as ``imitation of an action`` by Aristotle, acting has been regarded as a sort of mimetic technique. As a matter of fact, we can easily find such a mentions in the acting history and some actor`s biographies. Therefore it is naturally accepted that many theories on acting are on the basis of this aesthetics of mimesis or representation in art. But some questions on the acting are nowadays raised. That is the utility of this mimetic theory. The forms and contents of acting have been constantly changed in the history. therefore, we can easily assume that our contemporary theatre and theories of acting have to be changed according to changes. But we can`t find such a changes in the fields of theatre practices and theories in korean theatre. Especially, in the education and training for actor. It is still observed the strong influence from the realistic style of acting or “Stanislavsky System”. In the mimetic acting (representational acting) is it very accented ``emotion`` and ``emotional interaction`` between actors and spectators to feel ‘true’. What the most important thing in this style is how truly it resembles the object of the imitation on the stage. That means logically there are some ‘good’ or ‘bad’ acting and ‘true’ acting or ‘false’. It is questionable whether it still valid for our contemporary theatre. the main reason why the ‘simulative acting’ instead of ‘mimetic acting’ is proposed in this thesis is related with changes in our contemporary theatre, for example, such a theatres ‘postdrama’ and ‘energy theatre’ etc. In the simulative acting is it not important how truly actors imitate the figures in texts because they are some kinds of fictional beings. On the other hand, what the important thing in ‘simulative acting’ is not the degree of imitation but the differentiation of resemblance. It can be caused many revolutionary changes in the fields of education for acting and on the stages. The purpose and goal in acting can be moved from the figures in texts from actors themselves. And it can make the actor concentrate on himself and be more vital on the stage.

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