현대작품에서 나타나는 크로스오버에 대한 연구 : 보리스에이프만(Boris Eifman)과 빔 반데키부스(Wim Vandekeybus)를 중심으로 = A study of Cross-over Aappears in Modern works

국문 초록 (Abstract)

국 문 요 지


본 논문은 현대 사회에서 나타나는 기존의 현상들이 보다 다양한 매체들과 융합하여 나타나는 크로스 오버에 대해 분석하고 특성을 파악하고자 하였다. 크로스 오버는 오늘날 문화현상의 하나이며 서로 다른 장르간의 결합, 통합, 조화를 일컫는다. 이러한 현상은 정치에서부터 문화예술 분야까지 크로스오버 현상이 나타나면서 자연스러운 신문화로 자리 잡았다.
무용예술에서도 각 장르간의 경계가 허물어지면서 순수예술의 한계적인 부분을 타 예술과의 크로스오버를 통해 직접적이고 풍부한 표현력을 전달해 주는 수단이 되었다. 이를 통해 무용이라는 현대 춤에서는 다양한 시도가 계속되면서 발전되는 무용공연예술을 보여주고 있다.
본 연구에서는 크로스 오버의 개념과 특성을 알아보고 크로스 오버의 활용이 나타나는 무용작품을 분석하기 위해 안무가 보리스 에이프만(Boris Eifman)의 「붉은 지젤」과 빔 반데키부스(Wim vandekeybus)의「Blush」작품을 선택하여 그들의 안무 성향과 작품 속에 나타나는 타 예술과의 관계(소품, 의상, 음악, 무용, 영상)를 분석하였다. 연구의 진행에서 주어진 결론을 종합하여 분석하고 긍정적 방향을 확인하였다.
본 연구 결과 무용에서 나타나는 크로스 오버 현상은 제한적인 공간에서 이루어지는 공연이 아닌 영상을 통해 시‧공간의 제약을 받지 않는 모습을 보였다. 또한 관객들에게 전하고자 하는 의미를 정확하고 전달할 수 있다. 음악적 요소는 무용수들의 심리를 극대화 시켜주는 역할을 하며 한 작품의 기둥과 같은 중요한 역할을 보여주기도 하였다.
크로스 오버의 활용은 타 예술과의 경계를 허물고 자유롭고 실험적인 작업을 통해 다양한 작품을 창조해 내고 작품의 이해를 높이고 전달하는데 효과적인 역할을 했다. 이는 기존의 순수예술에서 느낄 수 있는 제한적인 부분이 타 매체와의 융합을 통해 자유롭게 표현되어 질 수 있다.
따라서 무용예술에서 나타난 크로스 오버 현상은 계속적인 실험적인 안무활동을 통해 다양한 작품을 재해석 하여 관객과 의사소통할 수 있는 성공적인 창조 발전이 이루어져야 할 것이다.

목차 (Table of Contents)

• 목 차
• 국문요지
• Ⅰ.서론······················································································1
• 1. 연구 필요성 및 목적························································1
• 2. 연구 방법·········································································4
• 3. 연구 제한점·····································································5
• Ⅱ. 이론적 배경·······································································6
• 1. 크로스오버의 개념··························································6
• 2. 크로스오버의 특성························································10
• Ⅲ. 분야 별 크로스오버의 활용··········································13
• 1. 타 장르의 크로스오버···················································13
• 2. 무용에서의 크로스오버···············································17
• Ⅳ. 작품에서 나타난 크로스 오버의 현상·························25
• 1. 보리스 에이프만 「붉은 지젤」··································25
• 1) 문학적 안무 철학 ·······················································25
• 2) 작품 내용······································································29
• 3) 작품 속 크로스오버· ··················································31
• 2. 빔 반데키부스 「Blush」 ··········································44
• 1) 미디어 안무 기법························································44
• 2) 작품 내용·····································································48
• 3) 작품 속 크로스오버 ··················································50
• Ⅴ. 결론 및 제언···································································63
• 참고문헌················································································66
• ABSTRACT··········································································70