±èÁ¤¿Á ȸÀå, ¿¬±ØÀº âÁ¶Àû ¸¸³²ÀÌ´Ù

ÆÄ¿öÄÚ¸®¾Æl½ÂÀÎ2012.01.13l¼öÁ¤2012.01.13 14:49

Å©°Ô

ÀÛ°Ô

¸ÞÀÏ

Àμâ

½Å°í

¿¬±ØÀº âÁ¶Àû ¸¸³²ÀÌ´Ù

´ëÇѹα¹ ¿¹¼ú¿ø ±èÁ¤¿Á ȸÀå

°ø¿¬ÀÇ 3¿ä¼Ò´Â ¹«´ë, °ü°´, ¹è¿ì¶ó°í Àß ¾Ë·ÁÁ® ÀÖ´Ù. °´¼®°ú ¹«´ë°¡ À̾îÁø ÇϳªÀÇ °ø°£¿¡¼­ ±ØÀÇ ½ÃÀÛ°ú ³¡ÀÌ ¹è¿ì¿Í °ü°´ÀÌ È£ÈíÇÏ°í ¼ÒÅëÇϸç À̾îÁö´Â °ÍÀÌ´Ù. ¿©±â¿¡ ÁøÂ¥ Áß¿äÇÑ ¿ä¼Ò¸¦ Çϳª ´õÇÏÀÚ¸é ±×°ÍÀº ¹Ù·Î ¡®¹«´ë µÚ¡¯¶ó°í ¸»ÇÏ°í ½Í´Ù. ¹«´ë µÚÀÇ ¿¬Ã⽺ÅܵéÀº °ü°´°ú ¹è¿ì »çÀÌ¿¡ Á¸ÀçÇØ °ø°¨°ú ¼ÒÅëÀÇ ²öÀ» ¿¬°áÇØÁÖ´Â ÇϳªÀÇ °í¸®¿ªÇÒÀ» Çϱ⠶§¹®ÀÌ´Ù. ±×¸®°í ÀÌ ¸ðµç °ÍÀ» À̲ø°í ÅëÁ¦ÇÒ ¼ö ÀÖ´Â °ÍÀº ¹Ù·Î ¿¬Ãâ°¡ÀÇ ¸òÀÌ´Ù. 


50³â°£ÀÇ ¿¬ÃâÀλý

¡°ÇÑ ÀÛÇ°À» ¿¬ÃâÇÏ°í ÇϳªÀÇ ¹«´ë¸¦ ²Ù¹Î´Ù´Â °ÍÀº ÇϳªÀÇ Àλý, ÇϳªÀÇ ¼¼°è¸¦ ¹Ý¿µ ¶Ç´Â âÁ¶ÇÏ´Â °ÍÀÌ´Ù¡±

¼­¿ï´ë ºÒ¹®°ú Ãâ½ÅÀÎ ±èÁ¤¿Á ȸÀåÀº ¿¬±Ø, ¿ÀÆä¶ó, ¹«¿ë±Ø, ¿µÈ­, ÇÐ°è µîÀ» µÎ·ç ¾Æ¿ì¸£´Â ¿ø·Î ¿¹¼úÀÎÀÌ´Ù. ¿¹¼ú û³âÀ¸·Î ÀþÀº ½ÃÀýÀ» º¸³Â´ø ±è ȸÀåÀº 1961³â ÀÌÈ­¿©´ë ¿¬±Ø¹Ý¿¡¼­ ¾Æ¸®½ºÅäÆij׽ºÀÇ ¡®¸®½Ã½ºÆ®¶ó´Ù¡¯ ¿¬±Ø ¿¬ÃâÀ» ½ÃÀÛÀ¸·Î ¿¬±Ø°è¿¡¼­ º»°ÝÀûÀÎ È°µ¿À» ½ÃÀÛÇß´Ù. ±è ȸÀåÀº 1964³â ±Ø´Ü ¡®¹ÎÁß±ØÀ塯 ´ëÇ¥¿Í 1966³â ±Ø´Ü ¡®ÀÚÀ¯¡¯ÀÇ ¿¹¼ú °¨µ¶À» ¿ªÀÓÇßÀ¸¸ç 1987³â¿¡ ¿µÈ­ ¡®¹Ù¶÷ ºÎ´Â ³¯¿¡µµ ²ÉÀº ÇÇ°í¡¯¸¦ ¿¬ÃâÇØ ¿µÈ­°¨µ¶À¸·Îµµ µ¥ºßÇß´Ù. 1993³â¿¡´Â Çѱ¹¿µÈ­ÇÐȸ ȸÀå¿¡ ¿À¸£´Â µî ¿¬±Ø, ¿µÈ­°è¸¦ ¿À°¡¸ç 50¿©³â°£ 100¿© ÀÛÇ°À» ¿¬ÃâÇØ ´ëÇѹα¹ ´ëÇ¥ ¿¬Ãâ°¡·Î ÀÚ¸®¸Å±èÇÑ ±è ȸÀåÀº °¡Àå ±â¾ï¿¡ ³²´Â ÀÛÇ°À¸·Î ¹ÎÁß±ØÀå¿¡¼­ ¿Ã·È´ø ¡®´ë¸Ó¸® ¿©°¡¼ö¡¯¸¦ ²Å¾Ò´Ù. ¡®´ë¸Ó¸® ¿©°¡¼ö¡¯´Â ºÎÁ¶¸®±ØÀÇ È¿½Ã°¡ µÇ¾ú´ø ÇÁ¶û½º ±ØÀÛ°¡ ÀÌ¿À³×½ºÄÚÀÇ ÀÛÇ°À» Çѱ¹¿¡¼­ ÃÊ¿¬ÇÑ °ÍÀ¸·Î Àΰ£ÀÇ ¼ÒÅëÀÇ ´ÜÀý, ¹«ÀǹÌÇÔ¿¡ ´ëÇØ À̾߱â ÇÏ°í ÀÖ´Ù. ±è ȸÀåÀº ±âÁ¸ÀÇ »ç½ÇÀûÀÎ ¿¬±Ø°ú´Â ´Ù¸¥ ½ÇÇèÀûÀÎ ¿¬±ØÀ̾ú´Ù°í ÀüÇßÀ¸¸ç ±× ¹Û¿¡µµ ÀÚÀ¯±ØÀå ⸳°ø¿¬ ¡®µû¶óÁöÀÇ Ç⿬¡¯°ú ¡®¾îµð¼­ ¹«¾ùÀÌ µÇ¾î ¸¸³ª·ª¡¯, ¼¼°è ÃÊû°ø¿¬À» Çß´ø ¡®¹«¾ùÀÌ µÉ°íÇÏ´Ï¡¯, ¼¼°è ¸íÀÛÀ» Çѱ¹Àû ÄÜÅÙÃ÷·Î ¹Ù²ã ¿¬ÃâÇÑ ¡®ÇÇÀÇ °áÈ¥¡¯ µîÀ» ±â¾ï¿¡ ³²´Â ÀÛÇ°À¸·Î ²Å¾Ò´Ù. 


¡®´ëÇѹα¹ ¿¹¼ú¿ø¡¯ ¿¹¼úÀû ¼ÒÅëÀÇ ±¤Àå 

´ëÇѹα¹¿¹¼ú¿øÀº ¿¹¼úÀÇ Ã¢ÀÛ¡¤ÁøÈï¿¡ ÇöÀúÇÑ °ø·Î°¡ ÀÖ´Â ´ëÇѹα¹ ¿ø·Î ¿¹¼úÀÎ 92¸íÀÇ È¸¿ø°ú ÇÔ²² ¿¹¼ú°¡¸¦ ¿ì´ë¡¤Áö¿øÇÏ°í ¿¹¼úâÀÛÈ°µ¿ Áö¿ø »ç¾÷À» ÇàÇÔÀ¸·Î½á ¿¹¼ú¹ßÀü¿¡ À̹ÙÁöÇϱâ À§ÇÑ ¸ñÀûÀ¸·Î ¼³¸³µÈ ¿¹¼ú°¡ÀÇ ´ëÇ¥±â°üÀÌ´Ù. 2011³â 12¿ù 8ÀÏ ´ëÇѹα¹¿¹¼ú¿øÀÇ Á¦ 35´ë ȸÀåÀ¸·Î ¼±ÀÓµÈ ¿ø·Î ¿¬±Ø¿¬Ãâ°¡ ±èÁ¤¿Á ȸÀåÀº 2013³â 12¿ù 19ÀϱîÁö ´ëÇѹα¹¿¹¼ú¿øÀ» À̲ô´Â ¸®´õ·Î¼­ÀÇ ¿ªÇÒÀ» ¸Ã°Ô µÆ´Ù. ±è ȸÀåÀº ¡°¿¹¼ú¿øÀº ¿¹¼ú°¡ÀÇ Ã¢ÀÛÈ°µ¿ Áö¿øÀ» À§ÇØ Á¤ºÎ°¡ ¼³¸³ÇÑ Æ¯¼ö¿¹¿ì±â°üÀÌÁö¸¸ ¿¹¿ì¸¸ ¹Þ´Â °ÍÀº Àǹ̰¡ ¾ø´Ù¡±¸ç ¡°¿¹¼ú¿øÀº 70~90´ëÀÇ ¿ø·Î ¿¹¼ú°¡µéÀÌ ¸ðÀÎ Áý´ÜÀε¥ ¼±¹è¿Í ÈĹèÀÇ ´ëÈ­ ±¤ÀåÀÌ µÇ¾î °ú°Å¿ÍÀÇ ¿¬°á»Ó ¾Æ´Ï¶ó ¹Ì·¡¿ÍÀÇ ¿¬°á°í¸®°¡ µÉ ¼ö ÀÖ¾î¾ß ÇÑ´Ù¡±°í ¿¹¼ú¿øÀÇ ¿ªÇÒ¿¡ ´ëÇØ ¼³¸íÇß´Ù. ¶ÇÇÑ ÈÄÇаú Àû±ØÀûÀ¸·Î ¸¸³ª ¿¹¼úÀû ¼ÒÅë°ú ¹ßÀüÀ» À§ÇØ ´ëÈ­¸¦ ³ª´­ ¼ö ÀÖ´Â ¼ÒÅëÀÇ ÀåÀÌ µÇ¾î¾ß ÇÑ´Ù¸ç ¿¹¼ú¿øÀÌ ¾ÕÀ¸·Î ÁöÇâÇÏ°í ³ª¾Æ°¡¾ß ÇÒ ¹æÇâ¿¡ ´ëÇØ Á¦½ÃÇß´Ù. ±è ȸÀåÀº ¡°¿¹¼ú¿ø ȸÀåÀ¸·Î¼­ ¿¹¼úÁøÈï»Ó ¾Æ´Ï¶ó ´Ù¸¥ ºÐ¾ß¸¦ º¸´Ù ´õ ½ÉÃþÀûÀ¸·Î ¿¬±¸ÇÏ°í ´ëº¯Çϵµ·Ï ³ë·ÂÇÒ °ÍÀÌ´Ù¡±¶ó°í ¿¹¼ú¿ø ȸÀåÀ¸·Î¼­ÀÇ ±àÁö¸¦ º¸¿©Áá´Ù.


100ȸ ° ÀÛÇ° ¡®ÈæÀΠâ³à¸¦ À§ÇÑ °í¹é¡¯

Ç×»ó º¯È­ÇÏ°í µµÀüÇÏ´Â ¹®È­¿¹¼úÀÇ ¼±±¸ÀÚ ±èÁ¤¿Á ȸÀåÀº ÃÖ±Ù 100ȸ ° ±â³ä°ø¿¬ÀÎ ¡®ÈæÀΠâ³à¸¦ À§ÇÑ °í¹é¡¯À» ¿¬ÃâÇß´Ù. ¡®ÈæÀΠâ³à¸¦ À§ÇÑ °í¹é¡¯Àº ½º¸± ÀÖ´Â »ç°Ç Àü°³¿Í Àΰ£ÀÇ º»¼º°ú »çȸÀû ¸ð¼øÀ» ³¯Ä«·Ó°Ô ÁöÀûÇØ ¹®ÇÐÀû ±íÀÌ¿Í ¿¹¼ú¼ºÀ¸·Î Âù»ç¸¦ ¹Þ¾Æ¿Â ¸íÀÛÀ¸·Î ±è ȸÀåÀÇ ¿¬Ãâ·Î »õ·Ó°Ô ´Ù½Ã ž´Ù. ±è ȸÀåÀÇ ¹Ý¼¼±â ¿¬Ãâ Àλý¿¡ 100¹ø ° ÀÛÇ°À̶ó ´õ Àǹ̰¡ ÀÖ´Â ÀÌ °ø¿¬Àº ±Ø´Ü ÀÚÀ¯¡¤Çѱ¹°ø¿¬¿¹¼ú¼¾ÅÍ¡¤½Å½ÃÄÄÆÛ´ÏÀÇ °øµ¿ÁÖÃÖ·Î ³ë·ÃÇÑ ½ºÅܵé°ú ÁßÁø±Þ ¹è¿ìµéÀÌ Âü¿©ÇØ ÀÛÇ°ÀÇ ¹«°Ô°¨À» ³ô¿´´Ù.

±èÁ¤¿Á ȸÀåÀº ¿¬Ãâ°¡·Î¼­ÀÇ »îÀ» »ì¸é¼­ ¿¹¼úÀ̳ª ¿¬±ØºÐ¾ßÀÇ ¿©·¯ »ç¶÷°ú °ü°´À» ¸¸³ª ¿¹¼úÀû °ø°¨À» ³ª´©´Â âÁ¶Àû ¸¸³²¿¡ Å« Àǹ̸¦ µÎ°í ÀÖ´Ù. ±×Àú ¿¬±Ø°ú ¿µÈ­°¡ ÁÁ¾Æ¼­ ¿¬Ãâ°¡ÀÇ ±æÀ» °È°Ô µÆ´Ù°í ¸»ÇÏ´Â ±è ȸÀåÀº ¿¬Ãâ°¡¸¦ ²Þ²Ù´Â ÀþÀºÀ̵鿡°Ô ÀÌ·¸°Ô ¸»ÇÑ´Ù. 

¡°°íÅë°ú ¾î·Á¿òÀÌ µû¸£Áö¸¸ °á±¹Àº ÀÚ½ÅÀÌ ÁÁ¾ÆÇÏ°í »ç¶ûÇϱ⠶§¹®ÀÌ´Ù. ¿Â Á¤¿­À» ¹ÙÃÄ °íÅëÀ» ³Ñ¾î¼± ÁøÁ¤ÇÑ Ã¢ÀÛÀÇ Áñ°Å¿òÀ» ¸Âº¸±æ ¹Ù¶õ´Ù.¡±


±èÁ¤¿Á1 copy.jpg ±èÁ¤¿Á2 copy.jpg


Drama is creative meeting.

Jeong Ok Kim, chairman of the National Academy of Arts

Three elements of a performance are well known to be stage, spectators and actors. In one space connecting the audience seats and the stage, the beginning and end of a play, along with the actors and spectators, connects to each other, breathing and communicating together. But I want to add one more important thing to these: behind the scenes. All production staff behind the scenes, existing between the actors and spectators, plays the part of linking them to each other in terms of sympathy and communication. And it is a director's job to lead and control all of these. 

 

His 50 years' life as a director

"Directing a play and setting up a stage is like representing or creating a life or world." 

A major of French literature at Seoul National University, chairman Jeong Ok Kim is a veteran artist of stage, opera, dance, film etc. After spending his youth as an art fan, Mr. Kim set to work in earnest by directing "Lysistrat?" by Aristophanes in 1961.

Chairman Kim served as a representative of Folks Theater in 1964, and as an artistic director of Freedom Theater in 1966. In 1987, he also debuted as a film director by directing the movie "Flowers bloom even on windy days."

Chairman Kim, a representative director of Korea, has directed 100 works or so in both movies and plays. Among them, he cited "Bald Diva" as the most memorable play. In addition, he still remembers Freedom Theater's inaugural performance "A Banquet of the Wretched" and "What to become and where to meet"; a world guest performance "What's to become of us?; and "Marriage of Blood, a world masterpiece adapted for the Korean stage.


The National Academy of Arts, a plaza for artistic communication

Veteran play director Mr. Kim will assume, until Dec. 19, 2013, leading roles in the National Academy of Arts, since he was elected Dec. 8, 2011 as its 35th president.

"The National Academy of Arts is an honor organization established by the government," he explained, but its veteran members in their 70s to 90s of age should produce a connecting link between the present and the past by providing dialogue channels between artistic seniors and juniors. President Kim exhibited his pride, saying "As president of the National Academy of Arts, I will make an effort to research and represent more deeply other areas than art promotion.  


His 100th production, "Confession for a Black Whore"

This ever-changing, ever-challenging leader in culture and art recently directed "Confession for a Black Whore", celebrating its 100th performance. The drama, praise

d for its speedy development and sharp criticism of human nature and social contradictions, was reborn through Mr. Kim's direction. 

Chairman Kim, living a life as a director, has place

d a great emphasis on creative meeting where he share his artistic feelings with spectators, and people from the fields of culture and art as well. 

He always says to young people wishing to be a director "I became a director because I like and love the job, though it is always accompanied by pain and difficulty. I hope you will also enjoy the real pleasure of creating with passion, which goes beyond the pain." 


ÆÄ¿öÄÚ¸®¾Æ  
<ÀúÀÛ±ÇÀÚ © ¿ù°£ÆÄ¿öÄÚ¸®¾Æ, ¹«´Ü ÀüÀç ¹× Àç¹èÆ÷ ±ÝÁö>

ÆÄ¿öÄÚ¸®¾ÆÀÇ ´Ù¸¥±â»ç º¸±â
°¡Àå ¸¹ÀÌ º» ±â»ç
¿©¹é
¿©¹é
½Å¹®»ç¼Ò°³¤ý±â»çÁ¦º¸¤ý±¤°í¹®ÀǤýºÒÆí½Å°í¤ý°³ÀÎÁ¤º¸Ãë±Þ¹æħ¤ýû¼Ò³âº¸È£Á¤Ã¥¤ýÀ̸ÞÀϹ«´Ü¼öÁý°ÅºÎ
¢ß´º½º¾Ø¸Å°ÅÁø ÆÄ¿öÄÚ¸®¾Æ ´ëÇ¥ ¹éÁ¾¿ø  |   ¼­¿ïƯº°½Ã ±¤Áø±¸ Á߰ 162-3¹øÁö 2Ãþ  |  ´ëÇ¥ÀüÈ­ : 02-466-5085  |  Æѽº : 02-444-0454
´ëÇ¥¸ÞÀÏ/Á¦ÈÞ±¤°í¹®ÀÇ : bridgekorea@naver.com  |  °³ÀÎÁ¤º¸°ü¸®Ã¥ÀÓÀÚ : ¹éÁ¾¿ø(bridgekorea@naver.com)  |  »ç¾÷ÀÚµî·Ï¹øÈ£ : 591-87-01957
û¼Ò³âº¸È£Ã¥ÀÓÀÚ : ¹éÁ¾¿ø
Disclaimer: PowerKorea makes an article based on the information of products and/or services provided in paper and/or in interview by the company, the organization or the person that is solely responsible for the information.
Copyright © 2008 - 2024 ¿ù°£ÆÄ¿öÄÚ¸®¾Æ. All rights reserved.