미하일 체홉 연기론의 형성 과정 연구- 《햄릿》(1924)을 중심으로

Abstract

The figure, Michael Chekhov, is indispensable in understanding the development of technique of acting in the 20th century. Research on the period when he was engaged in his work at `The First Studio of MAT` and `The Second MAT` is not surprisingly limited. It might be because the research on M. Chekhov who is often criticized as being a `formalist` and `mystic` by the Soviet Russia was simply not allowed, and as another reason is owing to limited interest of his work which is concentrated around actor`s training from his exile in 1928 until death of 1955. M. Chekhov`s contribution was made possible from his learning from his mentor K. Stanislavsky who established the psychological theatre based on actor`s personal life experience itself. He then expanded his contribution beyond unconscious and spiritual dimension in the process of creating a role. A person who regards his technique of acting as `inspired acting` treated imagination as an important source of creation, which was a quite a clear departure from Stanialsvsky`s emphasis on life experience and emotion memory. `Imagination`, `image`, `psychological gesture`, `imaginary body and center` comprised as a key concept a new world of supra-sensual dimension accessible with scientific and objective approach in the contemporary play and acting art. Those who influenced the formation of his method include K. Stanislavsky, L. Sulerzhitsky, E. Bakhtangov and a German philosopher R. Steiner. Especially, Chekhov was heavily influenced by Steiner who as a pioneer of Anthroposophy propagated dichotomic distinction between idea and sensual experience, and between the spiritual and matter. The purpose of art to Chekhov is in the materialization of man`s spiritual world. As Anthroposophy divides man into body, soul, and spirit, Chekhov holds that "the idea of a play produced on the stage is its spirit, its atmosphere is its soul, and all that is visible and audible is its body." He emphasized imagination and intuition rather than analysis and logic in creation of actors` roles. He believed that through psychological gesture and related training character and secret of the person would be revealed. In other words, mind of role and body of actor are merged in psychological gesture. The most productive period for him was from the time he became leader of `First Studio` after the death of Bakhtangov in 1922 until he left Russia for good in 1928 including the transitory time when `Studio` was turned into `The Second MAT` and he became an art director in 1924. Hamlet, the first work of his at `The Second MAT` as an art director in 1924 merits special attention for its contribution to formation of actor`s technique. A ball was one of exercise tools he used at this time. Actors were told to express their emotion, will, and intention by throwing and receiving balls with each other in place of Shakespeare`s words. In performing this, they could explore and experiment the emotion, rhythm, energy and relationship between figures at each scene. Chekhov deserves appraisal for his introduction in creation of roles of trained intuition and inspired spirituality to actor`s technique by overcoming a black and white distinction between mind and matter, and between spiritual world and physical world.