반복의 연극 -들뢰즈와 샌포드 마이즈너의 비교 연구

초록

Deleuze laments that the concept of <repetition> has been abandoned as a subject of thought by being used as ‘ repetition of the same ’ . He repeatedly emphasizes that repetition has no efficacy other than producing difference. According to Deleuze, <repetition> is what causes a transition from one order of difference to another, and since it generates difference, it must be thought of in terms of <difference>. He further emphasizes <theatrical philosophy> as an anti-representational function, stating that ‘ movement is repetition, and here lies our true theater. ’ What is theatrical philosophy, as opposed to philosophical theater? We discover Deleuze ’ s philosophical thought in Sanford Meisner ’ s <Repetition Exercise> although there seems to be no direct connection between them. Sanford Meisner, who significantly contributed to the development of American acting, devised <Repetition Exercise> to create an actor ’ s training that is free from intellectual interference, in other words, free from mental plotting and contrivance. Just as Deleuze divided <repetition> into naked repetition and clothed repetition, he divided his training into <The Mechanical Repetition Exercise> and <The Repetition from your own point of view>, and the purpose of this series of systematic processes is to derive <impulse> or <instinct>. Meisner also finds the main element of genuine impulse in the counterpart’ s role, explaining that appropriate responses naturally arise by focusing on the counterpart. This resonates with Deleuze ’s assertion that “The relation to oneself corresponds to the relation with the outside, and all internal content exists within the relationship with the outside.” This study, based on Deleuze ’ s concept of repetition, explores how repetition in Meisner's <Repetition Exercise> allows actors to acquire the reality of doing and enables new performances. By doing so, it seeks to deepen the understanding of theatrical art and, conversely, to comprehend Deleuze ’ s concept of repetition in the concrete setting of theater through Meisner's methodology. Thus, this will outline the contours of Deleuze ’ s <theatrical philosophy>, which seeks to lead to the creation of novelty not only in acting but also in our reality.

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