An Exploration of Actor-Character Dissonance in Considering the Value of Embodied-Action

초록

This thesis examines the place and value of embodied-action in relation to overcoming an actor and character/role dissonance by means of the gap or that of distance which an actor is very often faced with and therefore has necessarily need to solve through training as well as being on stage. Above all, this research investigates to interrogate and articulate phenomenon of the distance in-between an actor and character in discussing and providing some problematic issues with the practical meaning of the actor’s bodily integration. Here, we argue that such phenomenon is derived from the predominant tendency using the actor’s intellectual parts simultaneously interrogating attempting to create a specific emotion analyzed the context the actor is working on. As a result, the actor’s body is an increased level of consciousness which in turn leads his/her body not to be as an integrated oneness but instead prevented from functioning spontaneity. That is, the actor’s body is divorced a constant respond and/or react to the given environment. The most significant point is that the actor’s body is no longer able to be involved with what his/her body fundamentally wants to do or achieve in the series of moments on stage. Embracing and facilitating an appropriate psycho-physical balance underlies answering the question of how to liberate him/herself from such gap or dissonance. At the same time, addressing the question of how to see then acknowledge the actor’s creative capacity in a lens of artistic aesthetic. As a consequence, the research findings show that the actor’s central task above all would be allowing his/her full permission apart from logical or habitual way the performer might be familiar with. This would then his/her body also has the possibility to experience other and/or new ways of moving. In this context, we argue that the actor’s body meets not only the necessity of transformational process by means of deeply grounded in the given environment but also the body is free from exploiting and/or displaying his/her familiarity, the ordinariness, a kind of nonessential thing on stage.

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