Korean Approach to Actor Training

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 An Intercultural and Psychophysical Approach to Acting and Actor Training Meditation and Acting as a Psychophysical ‘Technique’ Tao, Te and Kungfu Chapter 2: Dahnhak Meditation – Recovering Sensitivity Toward Mastery Introduction to Dahnhak DahnhakKi in DahnhakThree Principles Three Methods Dahnhak Practice Three Methods Practice Chapter 3: The Bald Soprano – Forming an Active-Passive Relationship Introduction From Paper to Time and Space – The Nature of ActingActing – A Psychophysical ActivityWords – Psychophysical Vibration Forming an Active-Passive Relationship to a Psychophysical ScoreA Process of Creating a ScoreSpace as a Channel – Resonance Integration Chapter 4: The Water Station – Moving Ki in Inner and Outer Space Introduction A Starting Point of Acting – A Way of Appreciation The ‘Visible’ and the ‘Invisible’ A Design of Awareness and Ki – Moving Ki in Time and SpaceScene 1 GIRLScene 2 TWO MENScene 3 WOMAN WITH A PRASOL Scene 9 THE GIRL Autonomy of the Ki-FlowChapter 5: Playing ‘the Maids’ – Tuning Emotional Ki Introduction The Korean Imagination – Han and Salpuri DanceSalpuri Dance – Embodiment of HanHan – The Aesthetics of Fermentation Emotion as Ki Emotion in the Context of Its EmbodimentTunable Elements of Emotional Ki Tuning the Characteristics of Emotional Ki ‘I Can Not’‘Release of Han Dance (Salpuri) and Vocal Duet’ A Character’s Emotion and an Actor’s EmotionChapter 6: Conclusion – A Theory of Sympathy Bibliography