동양과 함께 한 스타니스랍스키

 

 

    이 기사는 러시아 '배우회관'이 발행하는 '악쵸르(배우)'의 인터뷰 기사입니다. 1992년 4월호로 기억합니다.

    스타니스랍스키 연극상의 의의, 수상자 명단과 시상식 풍경 소식을 다루면서 연극상의 창설자 저에 대한 소개와 향후 계획을 다루고 있습니다.

    슈우킨 연극대학 교수로 재직하면서 '한국 스튜디오'에 대해서도 언급하고 있습니다. 이 스튜디오가 훗날 한국의 연기교육을 혁신시킨 자양분이 되었음은 두 말할 여지가 없겠지요. 그때 인터뷰에서 밝혔던 포부들이 지금은 다 이루어졌네요.

   러시아 원본을 보시면 알겠지만 그때는 콧수염을 길렀습니다.  너무 어려보였기 때문이죠. 하지만 곧 코수염을 자릅니다. 러시아에서는 콧수염을 기르는 사람이 너무 많아서요.

 

<The Actor’s house>

The actor, his highness

Stanislavsky from the East

 

At the end of the last season the ceremony for Stanislavsky award was held in CDA. The jury presented awards (in the amount of 600 USD and 300 USD) to the experienced and young actors: A. Demidova, V. Andreeva, A. Zakharova, M. Djabrailova, N. Schukina, A. Kazakov, as well as producer Galina Volchek.

The founder of this award is a fan of Stanislavsky’s system from South Korea Mr. Na San Man – a writer, professor, scholar. Later he founded a fund named after K. Stanislavsky; the fund’s goal is to promote the heritage of a great producer, support modern theatre arts in Russia which are inspired by K.S. Stanislavsky’s school. The fund’s new committee consists of President – Mr. Na San Man, Vice-Presidents – M. Eskina and V. Etush, and also all contest winners.

The editorial office asked Mr. Na San Man to tell about himself, how this meeting of the Korean artist with the Russian culture happened and about fund’s goals.

I come from a rural family. I am 35 years old. I have one brather and two sisters. I picked theatre department at the university. My parents were against of it because they thought this occupation was a little of prestige. I also worked while studying, because scholarships were very small. At that time I wrote a novel “Lonely rising moon” which was published in a newspaper and later was acknowledged as the best publication in 1983, and a little later after that I produced this play at the theatre.

Actually, there was also another award: I was excused from the military service. Since that time I have a certificate of a military correspondent. Nowadays I am the only theatre figure in Korea who did not do military service.

The title of my dissertation is “The Grotovsky’s method and the Korean system for developing an actor”. After this research work, thanks to Grotovsky, I discovered for myself Stanislavsky’s system. I read “My life in the art” in the English version. I wanted to learn that book in original, in the original language, compare Stanislavsky’s system with the ancient theatre tradition of acting skills in Korea.

After finishing university I worked in Korea as a producer and professor. In three years I produced ten performances, taught acting training. I worked as a producer in Gandzhou and as a professor at Pusan University, traveling back and forth by bus.

From 1988 till 1990 I wrote three books which became best sellers. The publishers got interested at me. As a result it helped me to found in Russia a charity fund named after Stanislavsky with a purpose to support Russian actors.

In 1991 I came to Moscow to GITIS. First year I studied Russian language. But Korean publishers found me even in Moscow. My readers asked for a sequel to a novel, so I had to isolate myself, get detached from my Moscow work and start working on my novel. In March 28 I sent the novel via fax, in April 8 I received a proof, in April 11 the novel was published in Korea in more than 1 million copies. That day I decided to celebrate that event and invited Russian actors: Alla Demidova, who I met first of all, Oleg Tabakov, Vladimir Andreev and others.

Russia is a unique theatre power. Here we have all fundamentals of the 20 century’s theater arts, here is the heart of the world theater.

I would like to work with your stage professionals – actors, professors. However, I would have been misunderstood, if the Moscow society saw Stanislavsky’s fund’s main goal, which was founded by joint efforts, as only presentation of awards. The main goal is studying Stanislavsky’s system.

Though, in Moscow my scholar and performer’s interests have been expanded: an actor at the producing system of Stanislavsky as well as Meiyerkhold and Vakhtangov – this is a scope of problems that I am interested at.

When I was a student I played Solyony in “Three sisters”. My experience is not limited only to the legitimate theater: I also did some dancing, plastic art, martial arts. I performed as a dancer. Modern actor in Russia is interesting for me partially because I am an actor too. Here I discovered such great actors as Alla Demidova (after watching 6 plays with her), Olga Yakovleva, Marina Neelova. I remember Mikhail Philippov’s work at “Napoleon”, Vladimir Andreev at “Propavshi syujet”, Vladimir Etush at “Bely krolik”. I would like to emphasize producing work by Galina Volchek.

My dream is to expand theater cooperation between Korea and Russia. In Moscow at the theatre institute named after Schukin there is already a group of Korean students. I would like to show my play “We are united” in Moscow produced by me with the Korean actors. This play has an interesting background story. For this play I brought together the actors from the districts which were in opposition to each other. While working together they overcame the resentment, became friends and played the performance. I would like to work with Russian actors. I am not refusing the idea to produce a play here in Russia by my novel “Lonely rising moon” with your actors.

At the end of this season I hope a new jury will make non-biased evaluation of actors’ work of this theattre year. Hopefully we won’t pass by something significant and talented. In last season the jury found itself in trouble to come to agreement. For the most part they were guided by standards and in a less degree by the requirements of the theatre reality. Now I believe the new jury will show some curiosity and objectiveness.