퍼포먼스(Performance) 예술의 매체별 특성에 관한 연구

국문 초록 (Abstract)

오늘날 우리는 더 이상 아름다운 대상을 보러 전시회에 가지 않는다. 변화하는 현대 예술 안에 미술도 평면적인 회화에서 벗어나 예술분야인 퍼포먼스로 확장되어 나타난다. 다양한 양상의 퍼포먼스(Performance)는 관념을 물질로 바꾸었으며 행위 자체가 중요해졌다.
퍼포먼스는 개념미술의 관념 등을 보다 구체적으로 육체 그 자체를 통하여 실행하는 예술행위이다. 퍼포먼스는 1970년대에 당시 미래파 작가, 다다이스트, 초현실주의자들이 가장 효과적인 표현수단으로 이용하였다. 그들은 스스로에 관해서 혹은 그들의 문제의식에 관심을 끌게 하기 위한 목적에서 뿐만 아니라, 자율적인 예술 작업으로 방대하고 선동적인 행위들을 선보였다. 이러한 퍼포먼스는 지난 25년간 엄청나게 발전되고 다양한 형태로 조형화되어 왔다.
퍼포먼스는 자기반영성, 패러디, 탈 경계, 탈장르화 등으로 다양한 실험을 해왔다. 퍼포먼스는 뚜렷한 하나의 장르라기보다는 각 장르의 형식을 자유롭게 결합될 수 있다. 이로 인해 퍼포먼스는 시대의 흐름에 따라 해프닝(happning), 이벤트(Event) 등의 다양한 양상으로 전개되어 왔다. 퍼포먼스는 인간의 여러 예술 장르 중에서도 특히 ‘소통’을 전제로 하는 작업이다. 퍼포먼스 행위는 객석에서 바라보는 관객의 입장으로 보았을 때, 무대와 객석을 분리하는 전통 문화예술의 형식에서 벗어나 직접적인 관객과의 소통을 통한 참여성의 의미를 가진다. 퍼포먼스의 행위자는 관객이 함께 할 수 있는 상황을 중시한다. 또한 퍼포먼스는 행위를 보는 관객이 행위에 참여함으로써 적극적인 참여자의 역할을 한다.
본 연구는 ‘퍼포먼스에 있어 매체별 특성이 다른 매체와 만나 어떤 관계를 나타내는가?’ 또한 ‘퍼포먼스를 바라보는 관객들은 다양한 매체와 어떻게 소통하는가?’라는 물음에 대한 연구에 주목하였다.
21세기 중요한 예술로 떠오르고 있는 ‘퍼포먼스 행위의 확장’을 본고에서는 심층적으로 분석하며 이를 위해 본문은 일반적인 퍼포먼스의 개념과 배경을 살펴보고 퍼포먼스 행위가 다른 분야의 예술과 결합되었을 때 나타나는 특징인 시․공간성, 참여성(관객과의 어울림), 일회성, 총체성, 과정성을 통해 퍼포먼스의 중요성을 알아보았다. 이후 퍼포먼스를 매체별로 즉, 미술, 연극, 무용, 사진, 음악으로 구분하여 각 분류에서 시대적 변화를 분석하고 대표적인 작가들을 깊이 있게 조사하였다.
본 연구가 퍼포먼스 예술의 매체별 특성에 관한 체계를 수립할 수 있는 자료가 되길 기대해본다.

다국어 초록 (Multilingual Abstract)

No one goes to exhibition to see beautiful objects any more. Modern art has been changed as a new concept of performance art, expanded from plane painting. A variety of performance art changes its concept to materials where activity itself became essential.
Performance art is to express an idea of conceptual art through body itself in concrete ways. In 1970s, performance art was employed by futurists, dadaists, and surrealists as the most effective way of expression. They exhibited a wide variety of sensational activities not only for attraction of public interest to their issues but also as part of their own art work. For last 25 years, performance art has been enormously progressed and established with various forms.
Performance art has been experimented with concept of self-reflection, parody, borderless, genreless, and more. It enables to combine each form of genre, not sticking to a genre apparently. Thus, diverse aspects, for example happening, and event are developed from performance art along with the flow of time.
Among other art genres, performance art is based on "communication". In a view of audience from stand, it is significant that performance activities communicate with audience directly, deviated from traditional cultural art that separates stage and stand. Performance artists value the situation that the audience participate in the activities. During the activities, the audience play a active role in their play.
This study is performed to find the answers of "what kinds of relationship are developed due to characteristics of each genre when a genre is combined with another genre?" and "How the audience who watch a performance communicate with various media?".
In addition, this study analyzes "expansion of performance activities" that the art has emerged as the importance type of art in 21st century. Therefore, general concept and background of performance art are examined in the main part of this paper. Also, the importance of performance art is proved through characteristics risen when performance activities are combined with other areas of art, such as temporal and spatial, participatory(harmony with audience), one-off, overall, and procedural. Finally, chronological change of each genre and the typical artists are analyzed by each genre, for example, fine arts, dance, photograph, and music.
This study is expected as important reference to formulate a system of characteristics of each performance art genre.

목차 (Table of Contents)

• 목 차
• 도판목록
• 국문초록
• Ⅰ. 서론············································································1
• 1. 연구의 목적······························································1
• 2. 연구의 내용 및 방법···············································2
• Ⅱ. 이론적 배경······························································4
• 1. 퍼포먼스의 개념······················································4
• 2. 퍼포먼스 사회적 배경·············································8
• 3. 퍼포먼스의 특징······················································12
• Ⅲ. 퍼포먼스의 이론적 특성·········································14
• 1. 퍼포먼스 예술의 시․공간성····································14
• 2. 참여성·······································································14
• 3. 일회성·······································································15
• 4. 총체성·······································································15
• 5. 과정성·······································································16
• Ⅳ. 퍼포먼스의 매체별 특성과 대표작가····················18
• 1. 미술···········································································18
• 1) 요셉 보이스 ···························································18
• 2) 백남준 ·····································································20
• 2. 연극·············································································22
• 1) 앙토넹 아르토··························································23
• 2) 예르지 그로도프스키··············································25
• 3) 피터브룩 ··································································27
• 4) 유진규 ······································································29
• 3. 무용·············································································31
• 1) 머스 커닝햄·····························································32
• 2) 피나 바우쉬·····························································34
• 3) 홍신자 ·····································································36
• 4. 사진············································································37
• 1) 모리무라 야스마사·················································39
• 2) 신디 셔먼·································································41
• 2. 음악············································································42
• 1) 존 케이지·································································44
• 2) 윤이상······································································46
• Ⅳ. 결론 ···········································································48
• 참고문헌 ·······································································50
• Abstract ·······································································52