스티브 라이히의 페이징 리듬 구조를 기반으로 한 무용 창작연구 : 창작작품 [갈망과 존재 사이]를 중심으로 = A Study on Dance Creation based on the Phasing Rhythmic Structure of Steve Reich : Focused on the Creative Work [Between Longing and Being]

국문 초록 (Abstract)

본 연구는 스티브 라이히(Steve Reich)의 페이징(phasing) 리듬 구조를 무용 창작의 시간·관계 구성 원리로 전환하는 것을 목적으로 한다. 미니멀리즘 음악의 반복, 위상 이동, 점진적 변형이라는 구조적 원리가 움직임의 질서와 지각적 체험을 중시하는 현대무용의 창작 방식과 깊이 상응한다는 점에 주목하였다. 이에 본 연구는 라이히의 대표작 〈Piano Phase〉와 〈Drumming〉을 분석하여, 그의 음악이 반복–위상 이동–점진적 변형–재정렬로 이어지는 과정 중심의 시간 구조를 지닌다는 점을 규명하였다. 또한 각 작품에서 나타나는 리듬 모듈의 조직 방식과 위상 변화의 누적 원리는 움직임의 모듈화 과정과 높은 구조적 유사성을 보였다.
이러한 분석을 바탕으로, 창작 작품 댄스필름 〈갈망과 존재 사이〉에서는 페이징 구조를 반복–위상 이동–점진적 변형의 세 단계로 재해석하여 움직임으로 시각화하였다. 두 무용수는 동일한 12박 모듈을 반복하되 한 무용수에게 1박 단위의 시점 지연(phase offset)을 적용하여 위상 차를 생성하였다. 그 결과 움직임은 시간이 흐르며 겹침–비켜섬–엇갈림–재정렬로 변화하며, 음악적 페이징과 동일한 시각적 리듬과 관계 구조가 형성되었다. 이러한 위상 이동 과정은 시간 차가 미세하게 누적될 때 신체 간 관계가 어떻게 변형되는지를 실험적으로 보여주며, 무용에서의 시간 인식 확장 가능성을 제시한다.
특히 본 연구의 창작 작품은 페이징 원리를 단순한 리듬 변형이 아닌, 두 자아의 시간적 간극·감정적 비대칭·내적 관계의 긴장을 드러내는 서사적 구조로 확장하여 적용했다는 점에서 기존 미니멀 댄스와 차별성을 갖는다. 이를 통해 음악의 시간 구조가 신체적·시각적 리듬으로 전환될 수 있음을 실험적으로 입증하였다. 나아가 위상적 움직임을 활용한 안무 구성은 감정 중심의 서사에 의존하지 않고도 서정적이고 긴장감 있는 화면 구성을 가능하게 하며, 이는 영상 기반 무용 창작에서도 적용 범위가 넓다는 점을 시사한다.
결론적으로 본 연구는 미니멀리즘 음악의 과정적 구조를 움직임의 생성 원리로 전환함으로써, 무용 창작이 감정 중심의 서사에서 벗어나 시간의 구조·지각의 변화·관계의 질서를 탐구하는 예술적 실천으로 확장될 수 있음을 제시한다. 또한 페이징 구조를 기반으로 한 안무 설계는 무용수 간 관계의 동역학적 변화를 시각적으로 드러낼 수 있는 효과적인 창작 전략임을 확인하였다. 이는 음악–무용 간 구조적 상응 관계를 기반으로 한 창작 연구의 새로운 방향을 제안하는 데 의의가 있다.

다국어 초록 (Multilingual Abstract)

This study was conducted with the aim of translating Steve Reich’s phasing rhythmic structure into principles for organizing time and relationships in dance creation. To this end, the study examined the theoretical characteristics of minimal music and Reich’s compositional aesthetics, and analyzed the rhythmic and phase structures of his representative works, Piano Phase and Drumming, in order to systematize the structural principles of the phasing technique. The analysis revealed that Reich’s phasing structure is composed of a process-based temporal sequence of repetition, phase shifting, gradual transformation, and re-alignment, through which identical patterns do not merely persist but continuously generate new orders and relationships over time. This confirms the central logic of minimal music as an art form that prioritizes process over outcome.
Based on this understanding, the study reinterpreted these musical structures as principles for choreographic organization. It was confirmed that when identical movements are repeated with differences in starting points and beat-level delays (phase offsets), visual and relational changes analogous to musical phase shifting emerge. Just as temporal differences between musical patterns generate new auditory configurations, temporal gaps between two dancers performing the same movement module produce visual rhythms such as overlap, misalignment, displacement, and re-synchronization. These changes extend beyond simple variations in movement arrangement, altering perceptions of bodily distance, directionality, and relational density, and encouraging the audience to perceive movement as a relational flow rather than as isolated actions. This demonstrates that phasing can function as a principle that organizes relationships among time, space, and bodies within dance creation.
On the basis of this analysis, the creative dance film Between Longing and Being visualized the phasing rhythmic structure through three stages—repetition, phase shifting, and gradual transformation. The work is structured around a repeated twelve-beat movement module, in which a one-beat phase offset (phase offset +1 beat) is applied to one of the two dancers, thereby translating the temporal structure of musical phasing into bodily rhythm and relational organization. In the initial scenes, the dancers’ movements are presented in near-complete synchrony, allowing the audience to clearly perceive a reference pattern. At this stage, repetition establishes stability and continuity, serving as the foundation from which subsequent changes emerge.
As the work progresses into the phase-shifting stage, the temporal gap between the dancers gradually accumulates, and the same movement sequence begins to be perceived differently over time. Movements appear to overlap, pass by one another, diverge, and misalign, yet these changes are generated solely through the accumulation of temporal displacement rather than through the introduction of new movement material. In sections where phase differences become more pronounced, the identical twelve-beat module can be perceived as an entirely different structure, illustrating how difference is produced within repetition—a core principle of musical phasing operating at the bodily level.
During the stage of gradual transformation, the accumulated phase shifts intensify the density and tension of the scene, and the relationship between the two dancers is temporarily perceived as structurally separated. However, this separation does not function as a rupture but rather as a process leading toward re-alignment. In the latter part of the work, re-synchronization emerges not as a simple return to the initial state, but as a newly constituted form of simultaneity shaped by the accumulated experience of temporal displacement. Through this progression, the work guides the audience to attend not to the outcome of change but to the process through which change is formed, extending Reich’s concept of an “audible process” into a visual and corporeal dimension.
Furthermore, the work expands the phasing structure beyond a purely formal rhythmic device into a narrative framework that articulates temporal distance, emotional asymmetry, and the transformation of internal tension between two selves. Repetition signifies the persistence of an identical state, phase shifting represents misalignment and tension arising from temporal gaps, gradual transformation reflects the deepening and reconfiguration of relationships, and re-alignment suggests a renewed state of contact rather than complete unification. Through this structure, phasing functions as a choreographic principle that organizes processes of relational emergence, transformation, and convergence. In this respect, Between Longing and Being demonstrates that structural minimalism is not limited to non-narrative forms, but can also be applied to the construction of meaning and content in dance.
This study holds significance as a practice-based approach that translates Steve Reich’s rhythmic structures into principles of temporal organization for dance creation. Nevertheless, certain limitations remain, including the restricted range of analyzed musical works, the absence of quantitative verification of auditory–visual rhythmic correspondence, and the limited scale of the choreographic experiment as a duet. To address these limitations, future research may consider expanding the range of analyzed composers and works, developing quantitative methods for examining auditory–visual rhythmic relationships, diversifying evaluators and implementing objective assessment criteria, conducting repeated experiments across different scales, spaces, and audience conditions, and introducing external and blind evaluation systems.
In conclusion, this study presents a concrete example of how musical phasing structures can be translated into bodily temporality and relational change within dance creation. It suggests that music can function not merely as accompaniment or atmospheric support, but as a structural framework for organizing movement, and that such an approach may serve as one method for extending structural thinking within contemporary dance practice.

목차 (Table of Contents)

• Ⅰ. 서론 01
• 1. 연구의 필요성 및 목적 01
• 2. 연구방법 및 제한점 05
• Ⅱ. 스티브 라이히와 페이징 08
• 1. 미니멀리즘 음악의 특징 08
• 2. 스티브 라이히의 ‘페이징’ 10
• 1) 페이징 기법 10
• 2) 페이징의 리듬구조 12
• 3. 대표곡 음악 리듬 구조〈Piano Phase〉, 〈Drumming〉와 사례 14
• 1) 대표곡 음악 리듬 구조 14
• 2) 대표작품 적용 사례 17
• Ⅲ. 페이징 리듬 구조를 활용한 무용창작 23
• 1. 무용 창작작품 [갈망과 존재 사이] 23
• 1) 안무 의도 23
• 2) 주제 및 내용 24
• 2. [갈망과 존재 사이] 작품 분석 25
• 1) 작품 세부 구성 25
• 2) 음악 구성 26
• 3) 오브제 활용 27
• 3. 댄스필름 [갈망과 존재 사이] 28
• 1) 움직임 구성 28
• 2) 페이징 리듬 구조 안무 적용 33
• (1) 반복 33
• (2) 위상 이동 36
• (3) 점진적 변형 41
• Ⅳ. 결론 43
• 참고문헌 45
• Abstract 47