연기와 일상 생활에서의 공감의 기술

### 연기의 공감 기술 캐릭터 상호 작용 이해하기
* 🎭 연기의 본질은 특히 친절하거나 갈등이 있는 순간에 **진정한 감정과 반응을 전달하는 능력**에 있습니다.
* 👵 노인을 돕는 캐릭터를 연기할 때, 배우는 **그 장면을 사실적으로 표현하는 데 필요한 공감과 배려**를 구현해야 합니다.
* 💔 반대로 지루한 가게 주인을 연기하는 배우의 태도는 **근본적인 적대감**을 반영하여 **고객 경험에 큰 영향**을 미칠 수 있습니다.
* 🎬 "작은 배역은 없고 작은 배우만 있을 뿐이다"라고 말하는 그는 아무리 작은 배역이라도 **관객에게 깊은 울림을 줄 수 있는 진실성**이 중요하다고 강조합니다.
* 🛒 긴장된 매장 환경에서 점주가 고객과 적극적으로 소통하기를 꺼리는 것은 **과거의 경험에서 비롯**될 수 있으며, 이는 개인적인 편견이 상호 작용에 어떤 영향을 미치는지 보여줍니다.
* 🗣 "내가 해줄 수 있는 일이 있나요?"와 같은 대사를 다양한 톤으로 반복하는 연습을 통해 배우들은 **말 뒤에 숨겨진 감정적 무게**를 탐구할 수 있습니다.
* 🤔 캐릭터의 행동 이면에 숨겨진 동기를 이해하면 연기자는 **배역과 더 깊이 연결**하여 시청자의 공감을 불러일으키는 진정성 있는 순간을 연출할 수 있습니다.
* 👏 궁극적으로 연기의 목표는 이야기를 진실되게 전달하여 **배우와 관객 모두 자신의 공감과 상호작용 경험을 되돌아보게 하는 것**입니다.

배우들은 배역의 상황과 상관없이 진정성 있는 공감을 전달하여 믿을 수 있는 순간을 만들어야 합니다.

there are no small parts; there are only small [Music] [Applause] actors. Thank you. All right. Wow. Well, thank you. Thank you. All right. Okay. All right. Um, the way in when you have to get over in order to do what I do for a living, and a handful of other people in this room also do for a living, is you have to get past any sense of self-consciousness. You cannot care what you look like or what you sound like. You cannot care if you are sounding AR, but you cannot be artificial. You can only get up, hit the marks, and tell the truth, no matter what the line is, no matter what the circumstance is, no matter what the emotion is that you must not fake but recreate at that individual moment. Spencer Tracy said you have to hit the marks and tell the truth. That is a very hard thing to do naturally. So, we are all going to take part in an acting class tonight, every single one of you. All right. This first, this first, and probably

most precious exercise is called repetitions. If you take an acting class, which in all honesty I never did, but if you take an acting class, one of the ways you break down self-consciousness, which is your own concept of what you look like and how you sound, you do this little exercise called repetitions. I'm going to give you a line; it's a very simple line. And what you have to do, and we're going to do it out loud so everybody can get past any of that, no one's going to be called on the carpet, but everybody does have to participate. Otherwise, I'll you um, you have to say these words: Is there something I can do for you? But you can't just say the words; you have to ring out every possible meaning, every possible cadence, every possible variation of that line of dialogue: Is there something I can do for you? In a repetitions class, you would have to stand in front of everybody else in the class and keep saying it again and again and again in a different form.

and you only lose your chance to do that when you repeat yourself. All right, so the line is, Is there something I can do for you? And we are all going to now say that as many different ways as we can. All right, you're just you. You're nobody else. You're just who you are. Okay, the line once again is, Is there something I can do for you? All ready, ready. Let's begin in three, two, one. Is there something I can do? All right, fine. So you know the words, and you've already experienced them. Okay, now I'm going to give you the circumstance. You are you. All right, you are having a magnificent day. You're going to go off, and you're going to have a cup of coffee with someone that you have a great crush on, and you believe that person has a great crush on you. You're at the beginning of a marvelous relationship with someone who you think is going to perhaps give you, if not a lifetime of happiness, a few weeks or a few months. All right, you're done with your work for

the day you don't have any. You get to sleep in late tomorrow. It's going to be a lovely, lovely evening, and you are going to go and have a delightful exchange with someone you're looking forward to. But up in front of you, an elderly person carrying a package has tripped and fallen down onto their knees. All right, what do you say at that moment? Is there something I can do for you? Okay, ready? So, all right now, now, okay, all right. You have the circumstance. It's ass-tied. It's cold, and someone who looks like your grand, one of your grandparents or an elderly neighbor has fallen down and landed on one knee, and you say in 3, 2, 1. Let's try it again, ready? 3, 2, 1. All right, let's try one more, and it must be different from what you just did. Okay, ready? 1, 3, 2, 1. Do for you? Okay, very good, and cut. Excellent. Well, all right, now the same exact words, Is there something I can do for you? except now you are a Civic.

employee you work in an information booth at City Hall. All you do all day long is say those words to everybody that comes in through the door: Is there something I can do for you? These people are idiots, they're morons, they're clucks. Sometimes they don't speak your same language, but it doesn't matter because your job, the way you earn your living, is to sit in that booth and all day long say, Is there something I can do for you? You've said it eight million times in the course of the last three years, right? Not only that, your spouse at home, you've been arguing with them like crazy. Your kids are all brats. You'd like to go off. You haven't been to see a movie in months because you can't afford it. You are not a happy person on this midweek exchange. Your hours that you're putting in, you are bored, you are tired, and you're angry. But guess what? You have to say to everybody that comes into

the hallway. You have to say you're way too passive, far too far too interested again. You're going to be, you're going to be, look at the clock, realize that it's still 17 minutes to lunch, and you're going to look up and say, Okay, ready? Let's try three, two, one. All right, that's not bad. Can you, can you, can you be a little more angry, bored, and, uh, what's the, and uh, vituperative, if I'm using that word properly? One, two, three. All right, let's change it a little bit. Someone has stood in front of you for a few minutes and hasn't asked a question. You're just going to look up to them and say, Three, two, one. Something I could do for you. All right, look at the difference between those two lines, the two different circumstances. One, you're incredibly happy and you feel sorry for somebody who's there. This one, you're incredibly bored and unhappy, and you have to say this to this person, Is there something I can do for you? has very, very, very, very

very different connotation. All right, here's the last one. You ready for this? You're a shopkeeper in a relatively tough part of town, and you have to deal with thieves who steal cigarettes from you, theft from all of your shelves. You come in, and you get hassled by some of the neighborhoods who don't like you, essentially. You have to deal with people that are going to possibly rob you because as they walk in, you don't like the color of their skin, you don't like the clothes that they're wearing, you don't know that you don't like that you've seen them around before, and you just know this person is going to be troubled, and you are not going to let anybody rip you off again because you've worked too hard in order to build this little shop, in order to pay for your kids' clothes and the house that you live in. So, the last thing you're going to do is be polite to this person because you know that this person is probably going to

steal from you. So, what do you say to them in 3, 2, 1? Right, right as in, you know, you sure you want to come in here right now? Well, let's try it again. 3, 2, 1. All right, that's not bad, but wouldn't it kind of be like, Hey, is there something I could do for you? Right? All right, let's try it again one more time. You hate this person that walked in, ready? You're going to call the cops on this person if it gives you any lip whatsoever. You're going to call a policeman. 3, 2, 1. That's what I'm looking for. All right, a third variation on a very simple line. Is there something I can do for you? What have you learned about yourself just in those three iterations? One, that you can be kind and you can fake it. Two, you can be bored and you can fake it. But three, you can be angry and suspicious and you can fake it, but it's a thousand times better and will hit the audience in a way that is

undeniable if you truly are kind to that old lady who fell down or bored by that person who comes in CU what what you say and how you say it is part of the procedure and the behavior of how we all live our lives right now and you the audience we've all been in we've all sat down and watched a movie and said I don't believe that and the reason you don't believe that because those people didn't really go there so if you see a movie in which somebody says can I help you because an old lady or is there something I can do for you because someone fell you the actor that is in that place has to be the conduit of that reality and that true procedure and behavior because at the end of the day you can have as many humps and different makeup styles and hair and wigs and costumes but if you're not actually adhering to the procedure and behavior of the moment you're faking it and therefore you're not part of the great

social purchase that goes between the audience and the storytellers because that's what we all are. All right, now we're going to flip it now. All right, we're going to have another line. We'll start with a repetitions exercise. The line is It's all right, I'm okay. All right, let's. It's all right, I'm okay. Say it once. It's all right, I'm okay. Now let's have a few minutes of repetitions. Work out that line in as many different ways as you can. It's all right, I'm okay. Ready, go ahead. It's all right. [Applause] All right, very good, very good. All right, it's all right, I'm okay. Same scenarios, except this time you're playing the other character. You're the elderly person who fell down. You're, oh, you're who you are that you fell down. You're embarrassed. You were trying to juggle all these things. You're trying to get home in a period of time. You hit a slippery part of the sidewalk. You went

down you know what, and you actually did hurt your knee a little bit. All right, but what you hear from behind you is, Is there something I can do for you? Right? Was that the line? What was it? How can I help you? Was it How can I? All right, so I will give the line How can I help you? and you tell me, It's all right, I'm okay. But this first time, you're embarrassed, you don't want anybody to help you, you just want to get out of an uncomfortable social circumstance. Ready? All right, I'll give you the line, and you'll say, It's all right, I'm okay. And what was the line? Is there something I can... It's Away. By the way, this is a problem when you get a little bit older, you start forgetting the... Is there something I can do for you? Thank you. All right, ready? Hey, is there something I can do for you? Let's try that again. All right, you're falling down, feel the pain in your knee right now. That's actually be

rubbing your knee as I say this. Okay, ready in 3, 2, 1. Hey, is there something I can do for you? That's a little loud, guys. I think you know you could bring it down just a little bit, just almost be saying it to yourself. Is there something I can do for you? Okay, all right, good. All right, so what have you learned about yourself there? You could be humiliated at the same time. You could be helpful. Okay, now the next scenario. The bored person at the office. You have come into City Hall. You know exactly what room you have to be in, and yet you're not quite sure if you have all the correct papers, and you'd like to ask this person in the booth whose job it is to help you get through your day when you're right there. But this person has been looking down at their watch, and you are waiting for them to acknowledge you, and they don't. They don't. They don't until they look up and say, Is there something I can do for you?

all right, and you're going to say all right. Now, why would you say that in this circumstance? Why would you say that? Because you're intimidated, because you've been ashamed by this person, because you've been embarrassed by this person. You don't have the social confidence in order to say, Yeah, I need some help. No, you actually got. You don't want to be in more trouble from this lady. Okay, ready? Is there something I can do for you? Again, way too confident, folks. Imagine you're saying it and backing away at the same time. Ready? Is there something I can do for you? Good. All right. All right. You've been in another incredibly uncomfortable circumstance, and if you actually felt uncomfortable while you're doing that, you've told the truth. Okay, now it's the last one. You are exactly who you are. You look exactly the way you do. You're going into, you're just going to pick up, you know, a packet of crisps and a soda to a shop that you're not familiar with, and

the person who owns this shop obviously hates your guts for some reason. You have no idea why. You're just a customer wanting to do it, and as soon as they hit you with this line, Is there something I can do for you? you realize this person looks at me like I'm the enemy. I'm the enemy. So, the fact is that no, I'll just pick this stuff up, and I'll pay. I'll get out of here as soon as I can. All right, so that's your circumstance right now. Your line again is, It's okay. What is it? It's all right. I'm okay. Ready? Okay, ready. Is there something I can do for you? One more time. Okay, uh, maybe add just a tiny bit of moment because it's almost like he slapped your face. You're not quite sure why you're getting this attitude from this person. Ready? Is there something I can do for you? Then I'm just going to follow you around. So, okay, so there you just had

this little acting lesson that leads into a couple of territories I think that are undeniable if you're open to the necessities of telling the story. It's not only an examination of a social circumstance, but it is also a situation where you, the individual, the character, gets to participate in an empathetic process. Because the person who said, Can I help you? to the old folk, that's just caring for somebody, that's actually kind. The person at the information booth might at the end of that night come back and say, Why was I in such a cranky mood with that guy last night? Maybe I should examine what my own part is. And the shopkeeper said, I jumped all over that guy and he turned out to be a pretty cool guy. He wasn't one of the people that kind of rubbed me off. Likewise, the old person who hurt their knee came home and said, A young person just was so kind to me today and they didn't have to be.

really appreciate that you actually made my day. The person, uh, in the, uh, uh, in the city hall that was bringing in the papers to say, Well, I ran smack dab into the man today, and guess what? The patriarch is still taking something out of me. So, uh, I'm going to avoid that person from now on, not have to do it again. And the last one, the guy walked into a shop, just said, So long, Em. I love you so much. No, we're all very busy. Emma Watson, ladies and gent. I love [Applause] you. We made a movie together called The Circle. It was one of the most magnificent times we've ever had. Yeah, take care [Applause] darling. All right, now everybody please be cool. Don't try to search Emma out, you know, just acknowledge the fact that she's here studying and advancing the, the cor, the nature of storytellers just the same way we all are. So, what I was, what I wanted to do in that, that basic exercise is, you know, there's this

old saying that there are no small parts, there are only small actors. And if you go back in the great lexicon of film, you end up can if. If you study old movies, you can find these tiny moments where someone who is great actually has a very small part in a very big movie. You could you look at Turner Classic films, you probably know all these yourselves. Sometimes there is just somebody in a film, you just say who is that, and they end up being something huge and big. Why? Because they told the truth, because they actually stretched the concept of the empathetic moment that anybody can have in a movie. If they say something so beautifully and so truthfully, so accurately, and is so real, even if the lines are only Is there something I can do for you? or It's all right, I'm okay, you can move mountains just with those two lines. Thanks, everybody. So now we'll talk [Applause].

Oscar winning actor & writer Tom Hanks gives the Oxford Union an acting lesson

OxfordUnion

화자는 "제가 도와드릴 일이 있나요?"라는 대사를 다양한 방식으로 반복하며 도움을 요청하는 것의 중요성을 강조합니다.

좋은 하루를 보내던 사람이 사회적으로 어색한 상황을 겪는 장면을 설정하여 도움을 받는 데 어려움을 겪는 인간의 공통적인 모습을 강조합니다.

이 연습은 우리 삶에서 도움을 주고받는 것의 중요성을 설명하는 것을 목표로 합니다.

상황이 커뮤니케이션에 미치는 영향

화자는 쓰러진 노인에게 행복해하며 공감하는 모습과 지루하고 불만스러운 표정으로 반복해서 도와줄 수 있는지 묻는 시민 직원인 두 가지 시나리오를 대조합니다.

두 사람의 태도와 어조의 차이는 상황이 우리의 소통 방식에 얼마나 큰 영향을 미칠 수 있는지 강조합니다.

연사는 우리의 말과 행동이 다른 사람에게 미치는 영향을 이해하기 위해 이러한 차이를 인식하는 것이 중요하다고 강조합니다.

거친 동네의 가게 주인은 끊임없는 도난과 괴롭힘에 시달리며 손님들을 불신하게 됩니다.

이 캐릭터의 거친 외면은 자신의 행동이 다른 사람에게 미치는 영향을 깨닫고 공감과 자기 성찰의 순간에 도전합니다.

이 이야기는 사회적 역학 관계와 어려운 상황에 처한 개인 간의 이해와 연결의 가능성을 강조합니다.

연기 연습을 반복하면 자의식을 깨고 다양한 감정 반응을 탐구하는 데 도움이 됩니다.

배우들은 간단한 대사를 다양하게 전달함으로써 친절함에서 분노에 이르기까지 다양한 감정을 활용할 수 있습니다.

이 기법은 연기를 향상시킬 뿐만 아니라 자신의 감정 범위에 대한 귀중한 통찰력을 제공합니다.

배우가 스크린에서 현실감을 전달하려면 진정성 있는 행동과 진정한 감정이 중요합니다.

작은 순간과 진실한 상호 작용은 강력한 영향력을 발휘하여 관객에게 지속적인 인상을 남길 수 있습니다.

작은 역할이라도 캐릭터와 공감대를 형성할 수 있는 능력은 영화 산업에서 큰 인정과 성공으로 이어질 수 있습니다.

자의식 극복하기 및 도움 요청하기

연사는 협박과 수치심이 사회적 자신감에 미치는 영향을 강조하며 도움을 요청하기 어렵게 만듭니다.

어려운 상황에서 자의식과 상관없이 진실하고 진실되게 행동하는 것이 중요하다는 점을 강조합니다.

연사는 불편함을 극복하고 효과적으로 도움을 요청하는 연습을 위해 청중을 이끌고 연기 연습을 진행합니다.