金白峰 『부채춤』 硏究 = (A) Study of Kim, Baik Bong's "Fan Dance"

국문 초록 (Abstract)

본 연구는 한국 신무용 활동의 대표적 주류의 하나인 김백봉의 <부채춤>에 관한 동작분석과 형식기반을 고찰하고, 그 내면에서 추구하고 지향하는 미적특징을 도출하려는데 그 목적이 있다.
이러한 연구의 목적을 해결하기위하여 다음과 같은 방법으로 접근하였다.
첫째, 안무가의 예술 활동을 선행연구 및 관련 자료를 통해 정리하였다.
둘째, 김백봉의 총체적인 예술 활동 중 <부채춤>의 생성배경과 발달과정을 구체적으로 정리하였다.
셋째, 군무의 구성도해와 형식체계 분석을 통하여 작품내면에 내제되어있는 주제와 내용 그리고 안무가의 사상적 특징을 도출하였다.
넷째, 창무자가 직접 시연한 <부채춤>을 장단별로 기록하고 무보화 하여 앞서 연구 되어진 자료들과의 종합적인 연계를 통해 춤사위의 미적특징을 도출하였다.
이와 같은 방법을 통하여 도출된 김백봉 <부채춤>의 미적특징을 요약하면 다음과 같다.
첫째, 부채를 ‘감고’ 펴 올림‘에 있어 직선이나 직각대신 ’태극선‘형태의 완곡선형을 지향하고 한국의 전통적 춤사위의 특징인 끈기와 무게가 빠른 자진모리 장단과 만나 생명력이 앙양되는 심리적 ?

다국어 초록 (Multilingual Abstract)

Kim Baikbong's <Fan Dance>, one of the representative main streams of Korea Neodance, was discussed in the aspects of motions and forms, and also illuminated on its significance in Korea dance history with focus on view of arts and nature of the times that has been pursued and sought after inside of the work piece. The aesthetic characteristics of Fan Dance as drawn from the analysis of motions and creation base are as below.
In folding and spreading upward a fan, it intends roundabout curve in the form of 'Taegeuksun', instead of straight line or right angle, and goes along with Chajinmori-jangdan that is characterized by persistence and speedy weight which are the characteristics of Korean traditional dance motions, to feel a psychological stream that vitality is being elevated.
In motion formations, classical roundaboutness of arm movements like a streamline, and the matching various fan movements of symmetry and dissymmetry produce a smooth accord, expressing the exquisite harmony of classical and modern senses.
Beauty of restrained culture and forms which are intended in the court dance, and graceful and mysterious chic feel a beauty of blank space just like that of the oriental paintings. This is mingled with the characteristics of simple and folksy folk dances to pursue Kim Baikbong's own stylishness.
The whole motions being formed are the expression of throughly aimed signification. The symbolic motions of Fan Dance are the intentioned revelation of beautiful poetic sentiment as felt in our daily life or nature, by taking the form of dance motions.
In the transition of dance motions, elaborateness and fineness are required at every moment, when the fan is introduced not for a decorative purpose with an accessory or a small tool but as a concept of a part of dance and the extension of dance, to be melted in it. Accordingly, the technique of using a fan as a property is not just a separate motion but one to deliver a meaning. Any frivolous formation is absolutely not allowed.
As can be grasped from the interpretation of 'Dondon-motion' and 'Kijigae-motion', common materials that can be easily found in our life story are used. A set of small themes inherent in the work pieces strongly send forth a nature-friendly, ethnic, and buddhism color.
All motions are totally premised on the performance space of stage and the audience, thus it seeks after the maximization of expression in visual forms so that the most ideal beauty can be delivered when viewing from the audience seats.
Originated with these aesthetic characteristics, Fan Dance has a significance that it not only has succeeded in world popularization as a stage art since it was created in the days of Korea Neodance but also is being inherited as a representative work piece representing Korea, as another tradition. In light of these significance in Korea dance history, Fan Dance needs to be urgently and clearly illuminated. In this study, all records were made while the originator of Fan Dance is alive, under her through supervision. It is expected that the outcome of this study could be used as materials of legitimacy, something of historic value, and the evidence materials of dance history in the future generation.

목차 (Table of Contents)

• Ⅰ. 서 론 1
• 1. 연구의 필요성 및 목적 1
• 2. 연구의 내용 7
• 3. 연구의 방법 8
• 4. 연구의 범위 및 제한점 11
• Ⅱ. 이론적 배경 14
• 1. 김백봉의 무용 활동과 예술세계 14
• 1) 입문과 수련으로서의 요람 14
• 2) 창작 활동과 발전 18
• 3) 예술적 성숙과 집대성 24
• 2. 주요작품의 내용과 특성 27
• 3. 김백봉의 예술관 37
• Ⅲ. <부채춤>의 창작배경과 발전 41
• 1. 부채의 역사 41
• 2. 김백봉 <부채춤>의 발달 과정과 위상 44
• 1) 여명기 47
• 2) 독무시절 전기 47
• 3) 독무시절 후기 50
• 4) 군무의 생성과 발달 53
• Ⅳ. <부채춤>의 주제와 표현구조 55
• 1. 작품내용과 예술형식의 관계 55
• 2. 이미지 형상화를 위한 무원배치 원리 59
• 3. 구도 체계로 본 주?