An Exploration of a Performer’s Immobility - Reconsidering and Evaluating Lived Experience through Connectedness -

초록

This thesis interrogates This thesis investigates to explore a performer’s immobility in addressing and interrogating the practical meaning of a performer’s bodily connectedness in relation to his/her lived experience through acting and training. First of all, this research examines and articulates the term with a state of connected body as interrelated oneness. By providing appropriate examples with a phenomenon that describes those performers’ mere physical or disconnected bodies which very often indicate and/or demonstrate what s/he is doing apart from the performer’s intense awareness and simultaneously from the spectator’s concentration. Here, we argue that in terms of connectedness, maintaining the performer’s intellectual part, specifically thinking and/or rationalizing interrupts encountering his/her body, namely, the stimuli from inside and outside of his/her body. Accordingly, the practical meaning of the performer’s lived experience here connotes that the performer tries to rediscover unknowable and/or forgotten connections and territories through a process of qualitative bodily transformation. In this manner, therefore, the performer’s body is fundamentally rooted as interrelated oneness, defined as inner and outer equilibrium by means of a dynamic unity. We would argue that it is a way to live not only in daily life but also being on stage in which the performer’s body is able to response in the moment, plus, this process in turn leads his/her action or movement to fit into the given circumstance. Arming these research findings above, we reconsider and evaluate to demystify the principle of a performer’s immobility in a lens of a dynamical logic of constant transformation by means of an optimal state of the performer’s body. As a consequence, the ideal state can be emerged from the performer’s concentrated intensity by struggling to fulfill a series of moments, at the same time inhibiting penetrated concentration and focus in order to obtain his/her insight into a specific path where we as performers need to achieve within the moment and context the performer is now working on. Finally, we argue that functioning and more specifically fitting into the life, world, and given circumstance underlies obtaining the performer’s ethical sincerity or mature mind, that is, a potential way or key to contribute the central value of principle aesthetics, to live through a continuing process on stage.

키워드