컨템포러리 댄스 트렌드 분석에 관한 연구

정의숙,CHUNG, Euisook 성균관대학교 트랜스미디어연구소 2016 트랜스- Vol.1 No.-

본 연구는 이 시대의 무용가들 중 전통을 이어 창작하는 그룹과 다음 시대로의 공연형식을 열어주는 그룹을 선정하여 작품을 분석하면서 트렌드에 대한 논의를 하고자 한다. 이를 위해 선정한 작품들은 일반적으로 상상하고 있는 테크놀로지와의 융복합이 아닌 발레와 일상의 협업으로 구성된 무용을 비디오라는 또 다른 도구를 차용하여 새로운 형식으로 한 저스틴 펙(Justin Peck)과 타 문화(신체 장르)와의 협업을 형식으로 하는 시디 라비 체카위(Sidi Larbi Cherkaoui), 그리고 마지막으로 Site-Specific Dance Performance를 주도하는 자크 모리스(Zach Morris)를 선정하였다. 무용 트렌드 분석을 위하여 테크놀로지와의 융복합이 요구되는 사회의 공연예술 문화 환경에서 다른 차원의 융복합을 시도하고 있는 세 명의 안무가의 분석은 다음과 같다. 첫째, 미국의 저스틴 펙은 발레의 본질을 유지하면서 인위적으로 만든 공연장의 범주에서 벗어나 대중과 일상 안에 공존을 유도하며 주제를 표현하였다. 둘째, 벨기에의 시디 라비 체카위는 안무가 자신의 내공이 담보가 된 무한한 움직임의 역량을 소유한 창작자이다. 따라서 다양한 타 문화와 신체의 융합을 통해 용이하게 창작 작업을 하고 있다. 마지막으로 미국의 자크 모리스는 무용 전공이 아닌 연출 전공자로서 움직임을 포함하는 복합 형태의 이머시브 시어터(Immersive Theater) 형식으로 새로운 공연 장르를 주도하고 있다. 각 안무가들의 작품은 유튜브에 나와 있는 영상을 중심으로 장면 및 내용과 형식을 서술적 방법으로 분석하였다. 본 연구의 분석이 젊은 안무가들에게 그들만의 트렌드를 만드는 역할을 하는데 기여할 것으로 기대한다. This study aims to examine the present (Western) modern dance by analyzing the works of three choreographers who are currently at the forefront of the dance scene to identify and understand the current choreographic trend. The three selected choreographers for this study are Justin Peck (USA), Sidi Larbi Cherkaoui (Belgium) and Zach Morris (USA). These choreographers were chosen on the basis of their significant identity within the current dance scene. For analysis, one noteworthy works of each choreographer were selected for video analysis. The result of the analysis illustrates that in the current era of promoting technology convergence in the performing arts industry, the three choreographers approach convergence differently by integrating dance and other mediums in their choreography. Peck converges between ballet and the ordinary, Cherkaoui converges between dance and other cultures and Morris converges between dance and venue.

춤 영역 확장을 위한 ‘태양의 서커스(Cirque du Soleil)’ 컨텐츠 구성요소 분석연구

정의숙 ( Euisook Chung ),변혁 ( Hyuk Byun ) 한국무용예술학회 2014 무용예술학연구 Vol.46 No.1

This study examines several of the Cirque du Soleil repertories for its distinguishing characteristics such as the narratives, technology and movement. Based on this investigation, the study proposes to identify contents that could aid the expansion of the dance genre in its choreographic contents. Cirque du Soleil’s 「Alegria」, 「Quidam」, 「Totem」 and 「Zaia」 were selected for analysis based on its extended success, in order to discuss the possible transferable contents from Cirque du Soleil to the dance genre. Two works of dance companies: Les Ballets C de la B’s 「Evening Prayer」 and Ultima Vez’s 「Blush」 were utilized for further discussion. The analysis of the Cirque du Soleil’s four works illustrates that the contents entail captivating narratives, effective technology and movement that breaks free from physical limitations. These distinctive contents were clarified to parallel those within the two dance works of 「Evening Prayer」 and 「Blush」. Although the extent of the movement choreography differed, the fundamental nature of both genres’ composition was identified to be similar. Therefore, it can be acknowledged that the genre determines the nature of movement and its choreography to best deliver the narrative for communication with the audience.

국내 무용영화의 발전 가능성 연구 - '서울무용영화제'와 '댄스필름 프로젝트'를 중심으로

이은주,정의숙,LEE, Eunjoo,CHUNG, Euisook 성균관대학교 트랜스미디어연구소 2018 트랜스- Vol.4 No.-

무용과 영상 테크놀러지의 결합으로 시작된 무용영화는 새로운 장르로 자리매김하며 발전되어오고 있다. 해외에서는 이미 1950년대부터 실험적인 무용영화가 창작되었고 댄스필름협회가 조직되었으며 많은 무용영화제가 개최되고 있다. 그러나 국내에서 무용영화라는 장르에 대한 인식과 창작활동이 본격적으로 시작된 것은 얼마 되지 않았다. 이러한 상황 속에서 '서울무용영화제' 개최와 '댄스필름 프로젝트'의 창작적 실험은 국내의 무용영화 발전에 중요하다. 따라서 본 논문에서는 무용영화에 대한 개념과 발전과정, 해외 여러 무용영화제와 '서울무용영화제'의 현황과 특징을 살펴보고, '서울무용영화제'와 '댄스필름 프로젝트'의 역할과 기능, 그리고 이들의 협업으로 인한 기대효과를 분석하며 국내 무용영화의 발전 가능성에 대해 논의했다. '댄스필름 프로젝트'는 댄스필름 제작의 교육과 실험의 장으로, '서울무용영화제'는 무용영화 제작자 발굴, 작품 상영, 관객과의 대화, 국제교류, 유통 등의 플랫폼이 된다. 무용영화제는 무용영화의 과거와 현재의 흐름을 인식하고 미래를 전망해 볼 수 있는 살아있는 컨텐츠로서의 가치를 내재하고 있다. 이 두 단체의 상생과 발전은 국내 무용영화 발전에 긍정적인 역할을 다 할 것이라 기대된다. Dance films, which started together as a combination of dance and video technology, have evolved into a new genre. Overseas, from early 1950s, experimental dance films have been produced and the dance film association is organized along with many dance film festivals are being held. However, it has not been long since the perception and creativity of the genre of dance films in Korea. Under these circumstances, holding of the 'Seoul Dance Film Festival' and experimental approaches by 'Dance Film Project' are important for the development of domestic dance films. Therefore, this paper explores the concept and development of dance films, the status and features of various overseas dance film festivals and the 'Seoul Dance Film Festival'. This paper also explores the roll and function of 'Seoul Dance Film Festival' and 'Dance Film Project', and their expected benefit along with possibilities of prosperity of domestic dance film. 'Dance Film Project' is the educational and experimental venue for producing of dance films, and the 'Seoul Dance Film Festival' is a platform for producing dance film makers, show of works, dialogue with audiences, international exchanges, and distributions. The dance film festival embodies the value of the past and current flow of the dance film and is intrinsic to the existence of a live content that can be predicted the future aspect of its roll. The two groups mutual growth and development are expected to play a positive role in the development of domestic dance films.

한국 현대무용 토착화과정에서 박외선의 역할

김주희 ( Joohee Kim ),정의숙 ( Euisook Chung ) 한국무용예술학회 2013 무용예술학연구 Vol.41 No.2

This study is to evaluate the accomplishments made Park we sun through career had on dance history of Korea. She’s works is establish department of modern dance. As a result, While working at department of dance of university, she spurred dance students into a variety of activities and research though expand fostering of highly-talented human resources, and devoted herself to art scientific dance researches, contributing greatly to the development of dance education and modern dance. She continuously taught her students a variety of dance techniques for each piece of work while present the importance of creative work. From 1953 to 1977, Park We Sun worked at the department of Dance Ewha Women’s University. She attended international dance teachers seminars to study new trends in overseas dance circles, dedicating to the development of domestic dance world. This year marks the 50th anniversary of the very first dance department which founded in university. So the anniversary marked in this paper.

민족극 「물도리동」에 내재된 민간신앙(民間信仰)과 춤의 연계성에 관한 연구

노미정 ( Mijung Roh ),정의숙 ( Euisook Chung ) 한국무용예술학회 2014 무용예술학연구 Vol.47 No.2

The purpose of this study is discussing the relation between folk faith and dance internalized in nationalistic drama 「muldoridong」by focusing on the ‘Hahoebyeolsingut talnori (mask performance)’ (Important intangible cultural asset no. 69) in this drama of ‘Minye Theater Company’, which dramatized the legend of the Hahoetal (mask of Hahoe village). This is to study the uniqueness and universality in the basis of Korean traditional culture in detail and find the pattern, in which the uniqueness and universality are expressed as dance. Accordingly, it was possible to draw the symbolic meaning of the connectivity between folk faith and dance internalized in nationalistic drama 「muldoridong」. In conclusion, only the entertaining aspect of the dance is conspicuous while the essential meaning contained in the dance regarding the connectivity between dance and folk faith internalized in the nationalistic drama 「muldoridong」is forgotten. As the result, people today only appreciate the dance with refined technique and artistic nature through the performer of folk dance including the mask dance. Like this, the folksy nature or sensitivity internalized in the folk dance has been degenerated to ‘a dance just to be shown’; while only the entertaining and artistic character are emphasized. It should be recognized that the unique characteristics, which make the basis of Korean traditional culture and clearly different from other country and other people, exist in the base of it. It is believed that this study would become a good example which would inspire the awareness of people, which is being forgotten in modern society; while it is hoped that there would be more studies on this subject in the future.

도날드 닷슨의 포퓰러컬처(Popular Culture)와 매스컬처(Mass Culture) 논의를 반영한 대중사회에서의 무용 문화연구

임수진 ( Yim Sujin ),정의숙 ( Chung Euisook ) 한국무용예술학회 2015 무용예술학연구 Vol.55 No.4

The purpose of this study is to analyze Korean dance culture facing mass society based on Dodnald Dodson’s article Differentiating Popular Culture and Mass Culture. According to him, what differentiate popular from mass is the influence and power of businessman and the money. In case of popular culture, businessman stays in distance from artists and public while they conduct direct communication. In mass culture, contrastively, businessman becomes decision maker who controls all details. In this type of culture, artists hardly obtain their creative autonomy. Based on this idea, we differentiate two representative trends in Korean dance culture, ‘community dance projects’ and TV show Dancing 9 , dealing with their public audiences. Through the article, we examine how participants of each culture communicate each other in order to suggest community dance projects as popular culture and Dancing 9 as mass culture. This study could be standard idea toward popularity when choreographers and dancers seek for communication with public.

한국적 뮤지컬 「살짜기 옵서예」에 내재(內在)된 춤의 역할에 관한 연구

노미정 ( Mijung Roh ),정의숙 ( Euisook Chung ) 한국무용예술학회 2013 무용예술학연구 Vol.45 No.6

The purpose of this study is to examine the role of dances inherent in musical works through analysis of Yegrin Musical Company’s 「Saljagi-opseoye」which was first performed in 1966, positively using orignal form of advanced American musicals and combining traditional Korean dance and music, and left a landmark in Korea’s musical history. The study especially pays attention to ‘traits specific to Korea’. The study had findings as below. First, 「Saljagi-Opseoye」, using visual elements, showed typical Korean image with which any Korean could sympathize. Second, it emphasized value-laden concepts related with national identity evoking people’s pride that Korean creative musical was born based on our own materials and reflecting the country’s tradition and customs for the first time. Third, logic of the Western classic ballet by choreographer Lim Seong-nam was employed building on the country’s traditional dance, which provided basic conditions for this musical to be recognized as Korean style musical. Fourth, while the country’s traditional dance played a major role, ballet was added to the group dance and as a result hierarchical relation was formed between separated Korean dance and ballet. ‘Korean theme’, which brings its uniqueness to the forefront as such, must be very special one differentiated with other ethnic groups or states, and it can be said that such theme has been filtered through Korean’s basic characters and is related with finding of what was adopted in response to social requirements. However, while this musical was successful in deriving sympathy and pride as dance of Korean style musical, it failed to get recognition for unique characteristics of this dance. Therefore, we should go further than mere concern with how to produce high standard works well representing things Korean. The issue of how to reveal our own identity at this moment when the Western system and mode represented by ‘musical’ is normally established as an universal code, is directly related with the issue of our own identity. Under the circumstances, this study believes that success of Yegrin Musical Company’s 「Saljagi- Opseoye」can be a good example and concludes that when we analyze specific characters and causes of ‘Korean style musical’ from more objective perspective, its meaning and importance can be further expanded.