Jeungsook Yoo
A Korean Approach to Actor Training
Jeungsook Yoo
A Korean Approach to Actor Training
- Gebundenes Buch
- Merkliste
- Auf die Merkliste
- Bewerten Bewerten
- Teilen
- Produkt teilen
- Produkterinnerung
- Produkterinnerung
A Korean Approach to Actor Training develops a vital, intercultural method of performer training, introducing Korean and more broadly East Asian discourses into contemporary training and acting practice.
Andere Kunden interessierten sich auch für
- Tara McAllister-VielTraining Actors' Voices191,99 €
- The Korean Wave191,99 €
- Brian YeciesThe Changing Face of Korean Cinema217,99 €
- Marco A. Caiza AndresenThe Korean movie ¿Spring, Summer, Fall, Winter ¿ and Spring¿. Interactions between Geographical Location, Natural Surrounding and Storyline15,95 €
- Melissa HurtArthur Lessac's Embodied Actor Training201,99 €
- Peter ZazzaliActor Training in Anglophone Countries170,99 €
- Maria KapsaliPerformer Training and Technology191,99 €
-
-
-
A Korean Approach to Actor Training develops a vital, intercultural method of performer training, introducing Korean and more broadly East Asian discourses into contemporary training and acting practice.
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Produktdetails
- Produktdetails
- Verlag: Taylor & Francis
- Seitenzahl: 134
- Erscheinungstermin: 26. September 2017
- Englisch
- Abmessung: 216mm x 140mm x 10mm
- Gewicht: 318g
- ISBN-13: 9781138189386
- ISBN-10: 1138189383
- Artikelnr.: 49435835
- Verlag: Taylor & Francis
- Seitenzahl: 134
- Erscheinungstermin: 26. September 2017
- Englisch
- Abmessung: 216mm x 140mm x 10mm
- Gewicht: 318g
- ISBN-13: 9781138189386
- ISBN-10: 1138189383
- Artikelnr.: 49435835
Jeungsook Yoo was recently Head of the World Performance course at East 15 Acting School (UK). She currently teaches at Korea National University of the Arts and Soongsil University (Korea). She holds a PhD from the University of Exeter (UK). She is co-founder with Sunhee Kim of Theatre P'yut (Seoul), and is an actress and director.
Chapter 1: Introduction - Toward Gained Nature in Artificiality
1. An Intercultural and Psychophysical Approach to Acting and Actor
Training
2. Meditation and Acting as a Psychophysical 'Technique'
3. Tao, Te and Kungfu
Chapter 2: Dahnhak Meditation - Recovering Sensitivity Toward Mastery
1. Introduction to Dahnhak
Dahnhak
Ki in Dahnhak
Three Principles
Three Methods
Dahnhak Practice
2. Three Methods Practice
Chapter 3: The Bald Soprano - Forming an Active-Passive Relationship
1. Introduction
2. From Paper to Time and Space - The Nature of Acting
Acting - A Psychophysical Activity
Words - Psychophysical Vibration
3. Forming an Active-Passive Relationship to a Psychophysical Score
A Process of Creating a Score
Space as a Channel - Resonance
Integration
Chapter 4: The Water Station - Moving Ki in Inner and Outer Space
1. Introduction
2. A Starting Point of Acting - A Way of Appreciation
3. The 'Visible' and the 'Invisible'
4. A Design of Awareness and Ki - Moving Ki in Time and Space
Scene 1 GIRL
Scene 2 TWO MEN
Scene 3 WOMAN WITH A PRASOL
Scene 9 THE GIRL
5. Autonomy of the Ki-Flow
Chapter 5: Playing 'the Maids' - Tuning Emotional Ki
1. Introduction
2. The Korean Imagination - Han and Salpuri Dance
Salpuri Dance - Embodiment of Han
Han - The Aesthetics of Fermentation
3. Emotion as Ki
Emotion in the Context of Its Embodiment
Tunable Elements of Emotional Ki
4. Tuning the Characteristics of Emotional Ki
'I Can Not'
'Release of Han Dance (Salpuri) and Vocal Duet'
5. A Character's Emotion and an Actor's Emotion
Chapter 6: Conclusion - A Theory of Sympathy
Bibliography
1. An Intercultural and Psychophysical Approach to Acting and Actor
Training
2. Meditation and Acting as a Psychophysical 'Technique'
3. Tao, Te and Kungfu
Chapter 2: Dahnhak Meditation - Recovering Sensitivity Toward Mastery
1. Introduction to Dahnhak
Dahnhak
Ki in Dahnhak
Three Principles
Three Methods
Dahnhak Practice
2. Three Methods Practice
Chapter 3: The Bald Soprano - Forming an Active-Passive Relationship
1. Introduction
2. From Paper to Time and Space - The Nature of Acting
Acting - A Psychophysical Activity
Words - Psychophysical Vibration
3. Forming an Active-Passive Relationship to a Psychophysical Score
A Process of Creating a Score
Space as a Channel - Resonance
Integration
Chapter 4: The Water Station - Moving Ki in Inner and Outer Space
1. Introduction
2. A Starting Point of Acting - A Way of Appreciation
3. The 'Visible' and the 'Invisible'
4. A Design of Awareness and Ki - Moving Ki in Time and Space
Scene 1 GIRL
Scene 2 TWO MEN
Scene 3 WOMAN WITH A PRASOL
Scene 9 THE GIRL
5. Autonomy of the Ki-Flow
Chapter 5: Playing 'the Maids' - Tuning Emotional Ki
1. Introduction
2. The Korean Imagination - Han and Salpuri Dance
Salpuri Dance - Embodiment of Han
Han - The Aesthetics of Fermentation
3. Emotion as Ki
Emotion in the Context of Its Embodiment
Tunable Elements of Emotional Ki
4. Tuning the Characteristics of Emotional Ki
'I Can Not'
'Release of Han Dance (Salpuri) and Vocal Duet'
5. A Character's Emotion and an Actor's Emotion
Chapter 6: Conclusion - A Theory of Sympathy
Bibliography
Chapter 1: Introduction - Toward Gained Nature in Artificiality
1. An Intercultural and Psychophysical Approach to Acting and Actor
Training
2. Meditation and Acting as a Psychophysical 'Technique'
3. Tao, Te and Kungfu
Chapter 2: Dahnhak Meditation - Recovering Sensitivity Toward Mastery
1. Introduction to Dahnhak
Dahnhak
Ki in Dahnhak
Three Principles
Three Methods
Dahnhak Practice
2. Three Methods Practice
Chapter 3: The Bald Soprano - Forming an Active-Passive Relationship
1. Introduction
2. From Paper to Time and Space - The Nature of Acting
Acting - A Psychophysical Activity
Words - Psychophysical Vibration
3. Forming an Active-Passive Relationship to a Psychophysical Score
A Process of Creating a Score
Space as a Channel - Resonance
Integration
Chapter 4: The Water Station - Moving Ki in Inner and Outer Space
1. Introduction
2. A Starting Point of Acting - A Way of Appreciation
3. The 'Visible' and the 'Invisible'
4. A Design of Awareness and Ki - Moving Ki in Time and Space
Scene 1 GIRL
Scene 2 TWO MEN
Scene 3 WOMAN WITH A PRASOL
Scene 9 THE GIRL
5. Autonomy of the Ki-Flow
Chapter 5: Playing 'the Maids' - Tuning Emotional Ki
1. Introduction
2. The Korean Imagination - Han and Salpuri Dance
Salpuri Dance - Embodiment of Han
Han - The Aesthetics of Fermentation
3. Emotion as Ki
Emotion in the Context of Its Embodiment
Tunable Elements of Emotional Ki
4. Tuning the Characteristics of Emotional Ki
'I Can Not'
'Release of Han Dance (Salpuri) and Vocal Duet'
5. A Character's Emotion and an Actor's Emotion
Chapter 6: Conclusion - A Theory of Sympathy
Bibliography
1. An Intercultural and Psychophysical Approach to Acting and Actor
Training
2. Meditation and Acting as a Psychophysical 'Technique'
3. Tao, Te and Kungfu
Chapter 2: Dahnhak Meditation - Recovering Sensitivity Toward Mastery
1. Introduction to Dahnhak
Dahnhak
Ki in Dahnhak
Three Principles
Three Methods
Dahnhak Practice
2. Three Methods Practice
Chapter 3: The Bald Soprano - Forming an Active-Passive Relationship
1. Introduction
2. From Paper to Time and Space - The Nature of Acting
Acting - A Psychophysical Activity
Words - Psychophysical Vibration
3. Forming an Active-Passive Relationship to a Psychophysical Score
A Process of Creating a Score
Space as a Channel - Resonance
Integration
Chapter 4: The Water Station - Moving Ki in Inner and Outer Space
1. Introduction
2. A Starting Point of Acting - A Way of Appreciation
3. The 'Visible' and the 'Invisible'
4. A Design of Awareness and Ki - Moving Ki in Time and Space
Scene 1 GIRL
Scene 2 TWO MEN
Scene 3 WOMAN WITH A PRASOL
Scene 9 THE GIRL
5. Autonomy of the Ki-Flow
Chapter 5: Playing 'the Maids' - Tuning Emotional Ki
1. Introduction
2. The Korean Imagination - Han and Salpuri Dance
Salpuri Dance - Embodiment of Han
Han - The Aesthetics of Fermentation
3. Emotion as Ki
Emotion in the Context of Its Embodiment
Tunable Elements of Emotional Ki
4. Tuning the Characteristics of Emotional Ki
'I Can Not'
'Release of Han Dance (Salpuri) and Vocal Duet'
5. A Character's Emotion and an Actor's Emotion
Chapter 6: Conclusion - A Theory of Sympathy
Bibliography