즉흥연기의 이론과 방법론 연구

A study of improvisational acting theory and method

Improvisational acting is the acting without a script or direction. Improvisation is the essence for the film acting. Every great cinematic acting includes improvisational moment. The sense of improvisational acting is the capability for not only actors but also directors in the film set. A great moment of improvisational acting cannot be reproduced at the next day performance in the theater stage. However, there is a camera in the film set. Improvisation of the film acting is more important than the theater acting. Because the camera and the projector can easily represent all moments of acting. In Russia, Stanislavskii named improvisational acting as the ‘Etude’, argued that actors can develop and expand their acting ability, creativity and imagination through the improvisation. This improvisational acting expands actors’ imagination, which stimulate the creative fantasy and recalls actors’ emotion and emotional memories in the unconscious. In the USA, Viola Spolin argued the Theater Game theory that improvisational acting of theater play could elicit the urban poor children’s potential of expression and heal their soul. She also realized that the children who learning improvisational acting feel the joy and creativity which hard to experience in the daily life. Spolin’s Theater Game Theory brings the great progress in the improvisational acting education. Her ‘Theater Game Theory’ points out that Stanislavskii’s ‘Etude Theory’ is sometimes excessively serious and critical, may cause to confine actors. So actors can loose their pleasure of acting. Spolin found out the new method of improvisational acting through children’s Game theory, and it was the turning point in improvisational acting education.