This writing aims at structural contemplation on acting concepts conversed in post-ages. In that an entity is a combination of an object and images, nature of acting expresses itself as mutually connected combination of both an abject and images. Hence, verification of the relation between the two will be an important task in the study of acting. And yet, so-far discussions on acting have been lopsided toward the aspect of its objects such as methodologies. To make up for the situation, this study unfolds discussions on features with which the concepts of ‘role,’ ‘communion,’ and ‘action,’ confirmed by Stanislavsky, founder of comtemporary acting, in his trilogue structure, are conversed to ‘post-’, pursuant to the flow of the times. Conclusively, the ultimate goal of this writing lies with actual change or advance in the field of acting via contemporary consideration of acting concepts.
Each concept set up by Stanislavsky based upon trilogue structure was ‘action for a goal,’ on the actor/actress side, ‘identification via communion,’ on the counterpart side, and ‘realization of subconsciousness,’ on the audience side. These concepts were set up on the basis of causal ‘truth’ that originated from the then science and philosophy. In the post times, however, causal ‘truth’ has changed to uncertain ‘truth,’ conversing meanings of the aforementioned concepts into ‘carrying out of the process,’ ‘dialogue with others,’ and ‘realization of wu-wei,’ respectively. Eventually, I could infer that the ‘post-’ acting theory to be set up via conversion of such concepts would be an educational method developed by focusing on the process of carrying out communication, and removing all the unnecessary surplus. Aesthetics of acting to be realized by such ‘post’ concepts is similar to ‘descent downward,’ that is, ‘the modern sublime’ as Lyotard mentioned. Acting based on the ‘post’ concept today has become something strange, not natural, say, something looking infinitely harsh and meaningless because artificiality itself has been gone as its border with the real world has gradually fallen down in performances like post-avant-garde, in movies like fake documentaries, as a result of which the audience accept the acting as ‘a case’ that takes place, with strange feeling of reality, having given up their stance of appreciating the acting.