라반의 에포트-쉐입 분석을 통한 작품 속 인물의 움직임 특질 분석 -<백조의 호수> 중 백조와 흑조의 solo 작품 중심으로 = Analysis of characters of roles in classic works through Laban effort-shape: concentrating on The Swan Lake`s solo variation of Odette and odile

다국어 초록 (Multilingual Abstract)

In order to express the characters in classic ballet pieces, it is important to precisely understand the structure of the movements and traits because one needs to act according to his or her particular character. Particularly in Swan Lake, because one dancer needs to perform as both Odette and Odile, it is not sufficient just to execute the ballet techniques. It is also needed to thoroughly analyze the structure and traits of the movements in line with different characters. Although the education through Effort-Shape analysis is actively making its progress to improve the performance of each characters, it is also a fact that an insignificant number of studies on classic ballet piece have been done. Therefore, in this study, I have examined the structure and traits of the movements with dancers who play double role in Swan Lake as my subjects, and made a comparative study on different traits to provide the dancers the materials that can help them perform effectively. The Laban`s Effort-Shape analysis was used for this approach,and four distinctive and representative movements that Odette and Odile has in its solo pieces was chosen and analyzed; the results are as follows. The effort shown in leg movements was bound(□) in common as required in ballet techniques. Further, with the bound qualities(□), Odette showed more sustained(□□), light(□), and indirect(□) effort qualities, and Odile showed bound(□), and also strong(□), quick(□□), and direct(□) effort qualities. Subsequently in arm movements, Odette demonstrated light(□), sustained(□□), and indirect(□) qualities with its numerous steps, while the other, in its strong arm movements and strong seductive gaze, showed direct(□) and strong (□)qualities. Now on to the shape, analyzing the characteristics, lengthening of shape flow was apparent in both Odette and Odile parts, and there was significant difference between Odette and Odile in the overall sentiment. Odette accentuated Arc-like and shaping through the softness shown from the chest and Odile showed Spoke-like and accentuated the characteristic of directional shaping. Moreover, when Odette had shown both enclosing(□□) and advancing(□□) shaping, differently, Odile only showed advancing(□□) shaping qualities. In summary, Odette utilized sustained effort quality and Arc-like and smooth shaping qualities of upper body in conjunction with white dress and slow music to expose the elegant beauty. Conversely, Odile made good use of direct and quick effort qualities to express strong character that tricks and seduces the prince, and demonstrated strong directional shape qualities of Spoke-like. The Effort-Shape analysis discussed in this paper will help dancers express Odette and Odile more efficiently, and at the same time, dance directors could employ it as basic material for effective lessons. In addition, it will present great possibilities in being used not only in ballet, but also in other movement-involved performances such as theatre and opera.

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