마릴린 먼로 연기의 수행성적 재해석: 체홉식 연기와 메소드 연기의 교차를 중심으로

초록

This study reinterprets Marilyn Monroe’s acting through the convergence of Michael Chekhov’s psychophysical technique and Lee Strasberg’s Method Acting, arguing that her performance tran- scends conventional emotional representation by integrating physicality and affect into a dynamic performative style. Monroe first trained in Chekhov’s psychological gesture, developing her imagi- native embodiment and physical expressivity, and later deepened her affective presence through Strasberg’s emotional memory-based method. By drawing on Erika Fischer-Lichte’s theory of per- formativity and Vivian Sobchack’s concept of embodied film experience, this study examines how Monroe’s corporeal presence and improvisational energy function as performative events that engage the viewer in a sensuous, phenomenological encounter. Through close analyses of Niagara (1953), Gentlemen Prefer Blondes (1953), The Seven Year Itch (1955), Bus Stop (1956), Some Like It Hot (1959), and The Misfits (1961), the research explores how Monroe’s performances evolve into onto- logical performativity through embodied affect, spontaneity, and self-reflective transformation. Rather than positioning these theories in opposition, the study proposes a flexible recontextualization of performativity within film acting, suggesting new theoretical and practical insights for contemporary acting aesthetics and embodied actor training across media.

키워드