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모더니즘의 시, 공간에 대한 도전 -베르그손과 마티스의 미학을 중심으로
손원정 ( Won Jung Sohn ) 한국미학회 2012 美學 Vol.70 No.-
고대로부터 근대, 현대에 이르기까지 미메시스는 서구의 주요한 인식적 틀로서 존재해왔다. 때문에 모더니스트들의 미메시스적 예술 창작 방식으로부터 탈피하고자 하는 경향은 다시 말해 전혀 다른 인식의 패러다임이 필요했다는 것을 의미한다. 외향성, 그리고 이성중심주의적 현실 인식에 대한 불신이 만연했고, 이에 따라 ``본다는 것은 사물을 통제한다는 것``이라는 암묵적 합의는 설 곳을 잃게 되었다. 이러한 사상적 위기는 예술 형식에 있어서의 혁명적 변화를 추동하였고, 외부 세계에 대한 모사는 더 이상 예술가의 임무가 아니었다. 이제 모더니스트 예술가는 미메시스적 전략으로는 결코 재현될 수 없는 가치를 표현하고자 했다. 이 논문은 베르그손의 지속성의 개념과 중기 마티스의 회화의 관계를 살핀다. 베르그손은 지속성의 개념을 통해 근대 인식적 틀의 유효성에 대한 근본적인 문제를 제기했다. ``끊임없이 운동하는 이질성의 상태``로서의 지속성의 개념은 단지 시간에 대한 또 다른 이해의 방법을 제시할 뿐만 아니라, ``현재``를 이제까지와는 전혀 다른 방식으로 접근하여 물리적이고 규격화된 시간 속에서의 ``지금``을 극복할 수 있는 가능성을 우리에게 안겨주었다. 지속성에 대한 고찰은 마티스의 원근법에 대한 도전에 관한 소고로 이어진다. 마티스는 베르그손의 사상적 영향을 받았을 뿐만 아니라 회화 전반에서 미메시스적 양식을 해제하는 데 지대한 영향을 끼쳤다. 마티스의 회화를 살펴봄으로써 서구 모더니즘 이후 예술 창작 및 수용 과정이 어떻게 예술 활동의 가장 중요한 부분을 차지하게 되었는지를 간략히 살피도록 한다. This paper investigates Bergson`s concept of duration and Matisse`s artistic challenges against perspective. The concept of duration offered an effective means to question the Modernist paradigm of thought and perception. By proposing duration as a state of heterogeneity, Bergson provides us with an alternative concept of the present which transcends the boundaries of the physical now, giving focus to the subjectivity of the individual. My discussion of Bergson will then be followed by a short study on the challenge against perspective by Matisse, widely regarded as one of the key figures who contributed to disrupting mimetic conventions in the field of painting. By looking at the works of Matisse, who was deeply influenced by the philosophy of Bergson, I will examine how the subjectivity of the artist and spectator came to occupy the central role of artistic production and reception.
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환영과 현실의 경계에 서다 -<비엘로폴, 비엘로폴>을 중심으로 본 타데우즈 칸토르의 연극 미학
손원정 ( Won Jung Sohn ) 한국연극학회 2013 한국연극학 Vol.1 No.49
An on-going creative process was the major principle of Kantor‘s artistic endeavors. Kantor‘s emphasis on process grew out of his frustration with the experience of creation being isolated from the audience in the present time, during the moments of encounter. At the same time, however, Kantor was always aware of the fact that the first night of each and every performance that he made was the last point of his creative intervention. Despite being performed live in the present time, Kantor saw theatre essentially as an end product. This does not mean that Kantor abandoned the concept of on-going process, for process was for the artist a means to reject the idea of a finished work of art and to denounce the feeling of satisfaction derived from the traditional denouement in representational theatre. For him, theatre that dominated his time isolated the audience from the art work and the artist, and from this perspective his continual emphasis on process should be understood as an aesthetic principle in order to open up and expand the dimension of art into the realm of the spectator so that the experiences of both the artist and spectator may coexist. The heaviest barrier that separated the artist and his work from its audience was the creative structure that governed Western art. In theatre it was the dramatic structure that was the main object of his series of severe challenges. Not only did it fail to represent reality but it distorted reality, creating nothing but artificial illusion. Under this condition, all that was permitted to the audience was mirages. However, Kantor never completely discarded illusion from his theatre. The point for him was always to created a circumstance where the illusory reality of drama comes to exist within the dimensions of our reality. It was Kantor‘s belief that instead of a total denial of illusion, his theatre should strategically accommodate illusion which comes from reality. And, the aim of Kantor‘s theatrical experiments was to invite the audience into this ambience and transform the experience of his audience into a much more participatory one. This paper traces the ways in which Kantor transgressed the dominating conventions of representational, literary theatre, and how such attempts induced an alternative mode of spectatorship. The study will begin from an investigation into Kantor‘s attitude towards illusion and reality, and then move onto a closer inspection of how he spatially and dramaturgically materialized his concepts on stage, giving special focus on Wielopole, Wielopole.
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