호세 리몽(Jose Limon)의 움직임 언어에 내재된 표현성

반주은,김윤경 한국무용예술학회 2008 무용예술학연구 Vol.25 No.-

Modern dance which appeared in the beginning of the 20th century was a challenge to classical ballet as a form of art and signaled the advent of a new form of dance and concept of art. Dancers in the earlier period of modern dance when there was no systematic language of movement apart from ballet studied the language of movement as a means of communication through which to put their messages about artistic expressions across to the audience, and accorded their thoughts, emotions and meanings about creative acts. Each dancer has his own distinct way of communication in art. Accordingly, an artist giving life to works that he wishes to express and the meaning being exhibited is a matter of communication with the audience or viewer. What is considered important is whether or not the meaning has been conveyed as it was intended. Among various methods of expression, Jose Limon who concentrated on developing the dancer's own unique movements and dance language regarded movement itself as a fundamental principle and made new languages of expression focusing on new movements. The present study conducted research on the meaning of general artistic expressions and how Limon made characteristics of movements expressed in dance and methods of expression inherent in movements into unique artistry and methods of expression through communicating with the audience in his language. As a result, the study found out that based on "Fall and Recovery" theory, Limon made his own nine methods of expression as the result of the flow of energy caused by gravity, and the expressions reflected in his work express precision and boldness felt from characteristics of nationalculture and the human body, based on the essence from human experience. Likewise, in order to bring artistic expressions and its meanings to life, throughout his creative work, Jose Limon breathed his philosophy and the ideas he got from his mentor into his works and focused on basic structures of methods of expression. Until today, his movements are utilized as diverse methods of expressing movements from educational and creative perspectives, and it is valuable as a method that makes the human body movements the most efficientand precise.

포스트모던댄스의 연극적 성향에 관한 연구

반주은 한국무용예술학회 2007 무용예술학연구 Vol.20 No.-

신표현주의 무용의 표현기법에 관한 고찰

반주은 韓國舞踊敎育學會 1998 韓國舞踊敎育學會誌 Vol.9 No.2

Art, which represents an era of human history, has undergone continuous evolution. Several art forms has emerged until to present resulting art. These previous art forms was not sleeting. Rather, it gave birth to today's new-Expressionism dance largely due to the characteristics of circulation with the continuously repeating history. The concept of expression had been developed and changed from the expressionism which prevails in the beginning of this century to the New-expressionism which was predominant in 1980's. The essence of 'Expressionism' is to convey the author's intentions to the audiences by means of concrete techniques. While artists tried to express or convey their intentions to the audiences, they made several kinds of expressive techniques. These techniques, with the history of arts, has been adopted in the ways or techniques of dancing expressions. There are the common characteristics between Expressionism and new-Expressionism in dance. This study suggests that New-Expressionism is total art harmonizing or cooperating with other arts. The style of New-Expressionism in dance has broken the traditional stereotypes and tried to take progressive steps for the purpose of maximizing the expressions. These trials made creative expressive techniques and enlarged the ranges of expressions.

극사실주의 관점에서 본 현대 춤의 미학적 탐색

반주은 한국스포츠학회 2013 한국스포츠학회지 Vol.11 No.3

뮤지컬의 미적 탐색

반주은(BanJu-eunSuwon),이경숙(LeeKyung-sook) 한국체육학회 2018 한국체육학회지 Vol.57 No.6

본 연구의 목적은 ‘뮤지컬의 미적 탐색’이라는 주제아래, 뮤지컬을 미적 시각에서 접근하며 이를 통해 예술의 세 꼭지점 ‘예술작품, 예술가, 감상자’의 입장에서 구체적으로 미적 탐색을 고찰해보았다. 그리고 뮤지컬을 미적 연구의 표현론적 방법을 도입하여 ‘아래로부터의 미학(Asthetik von unten)’ 방법론의 입장에서 시도하였다. 뮤지컬은 예술의 세 꼭지점, 예술작품(뮤지컬 작품 활동)을 통한 예술가(배우: 행위자의 활동)와 감상자(관객: 감상자의 활동, 현재 위치하고 있는 뮤지컬의 사회적 담론체계)가 동시에 일정한 시·공간에서 현전하는 무대의 공연예술이다. 이를 요약하면 다음과 같다. 첫째, 예술작품은 그것이 어떤 형식이든 각기 다양한 작품의 형태로, 그것을 출현시킨 시대와 사회의 정신을 표현하는 특수성에 대한 필연성 그 자체로 미적인 기능을 소유한다. 둘째, 예술가(배우)는 지각능력을 매개로 형식들과 표현방식들을 산출해내고, 주어진 작품의 현상을 구조적·기능적으로 표현해냄으로서 분명하게 부각되는 그 가치는 미적 가치에 고스란히 기여한다. 셋째, 감상자는 역동적인 사회 심미적 경험에 입각해서 감정이입을 통한 감성적 인식으로서의 인간행동의 과정이다. 특히 실천적 행동의 가능성을 열어줌으로써 감성을 자극하여 회복하고, 하나의 아름다운 의식현상을 느낄 때 비로소 미적 경험은 성립된다. The purpose of this study is to examine musicals from aesthetic viewpoint under the theme of aesthetic search of musicals, and to explore the aesthetic exploration in detail from the perspective of three vertically artistic works, artists and viewers of art. And musicals were introduced in terms of Asthetik von unten methodology by introducing the expressionistic method of aesthetic research. Musicals are a combination of three vertices of art, an artist(actor: actor's activity) and a viewer(audience: viewer's activity, musical social discourse system) It is a stage performing art. This is summarized as follows. First, art works possess aesthetic function as the inevitability of the particularity of expressing the spirit of society and the age in which it appears in the form of various works, in various forms of works. Second, the artist(actor) produces forms and expressions by mediating perceptual ability and expresses the phenomenon of the given work structurally and functionally, thereby clearly contributing to the aesthetic value. Third, the viewer is a process of human behavior as emotional recognition through emotional attachment based on dynamic social aesthetic experience. Especially, aesthetic experience is achieved only when stimulating emotions by recovering the possibility of practical action and restoring one's senses of beautiful consciousness.

무용의 현대화 과정에 나타난 표현 특성에 관한 연구 -일제강점기를 중심으로-

반주은 ( Ju Eun Ban ) 한국무용예술학회 2004 무용예술학연구 Vol.13 No.-

모더니즘관점에서 본 서구 뉴 댄스에 관한 연구

반주은 ( Ban Ju Eun ) 한국무용예술학회 2003 무용예술학연구 Vol.11 No.-

파소도블레(Paso doble)에 대한 춤의 상징

이경숙,반주은 한국스포츠학회 2012 한국스포츠학회지 Vol.10 No.2

미학적 관점에서 본 왈츠

이경숙,반주은 한국스포츠학회 2011 한국스포츠학회지 Vol.9 No.3

형태학적 구조로 본 재즈댄스의 움직임

유현미,반주은 한국체육철학회 2011 움직임의철학 : 한국체육철학회지 Vol.19 No.3

The study of art and popularity acquired the characteristics of jazz dance forms of expression that is intended to investigate. Based on jazz dance to the popularity of the artistry arts by securing, as well as stage performances and film, mass media, a variety of musical genres such as the utilization is getting attention as a new genre of dance. However, with a variety of artistic fusion jazz dance as much as possible for the reader to understand the genre and the distinction is ambiguous genre of dance and other unique characteristics that distinction it jazz, and a description of the data is insufficient. This researcher specializing in jazz dance book, articles and magazine. that are common characteristics of jazz dance, selective, and based on this dance and any other distinguishing characteristic of jazz dance with unique form of expression will be described. These results indicated the characteristics of expressive forms of jazz dance follows. First, jazz dance is africanism. Second, jazz dance is rhythmicity. Third, jazz dance is complex. Finally, jazz dance is a variable. 이 연구는 예술성과 대중성을 동시에 확보한 재즈댄스의 움직임 특성을 파악하는데 그 목적이 있다. 재즈댄스는 공연 및 무대 예술 뿐만 아니라, 영화, 대중매체, 뮤지컬 등 다양한 장르에의 활용이 가능한 춤의 장르로 주목받고 있다. 그러나 재즈댄스 움직임에 대한 기초자료나 핵심적인 설명은 턱없이 부족하며, 이러한 상황에서 타 장르와의 지속적인 교류가 이루어지면서 재즈댄스의 단편적이고 대중적인 모습들이 부각되어 재즈댄스라는 독자적인 움직임에 대한 특성과 정확한 의미는 더욱 모호해지고 있다. 단지 강렬하다, 다이내믹하다, 각자의 개성을 표현 할 수 있다 등의 겉모습만을 표현하는 설명들이 난무하고 있는 것이다. 이에 연구자는 재즈댄스라는 움직임에 대한 더 정확하고 핵심이 되는 설명이나 내용들이 있어야 한다고 생각했다. 이러한 목적을 위해 전문서적, 논문, 전문잡지 등에서 공통적으로 이야기하고 무분별하게 퍼져있는 재즈댄스의 조각들을 형태학적인 방법을 통해 체계화하였다. 이러한 과정을 통해 나타난 내용은 다음과 같다. 첫째, 재즈댄스는 아프리카적이다. 둘째, 재즈댄스는 리드믹컬하다. 셋째, 재즈댄스는 복합적이다. 마지막으로 재즈댄스는 가변적이다. 이것은 그 동안 당연하게만 생각했던 재즈댄스의 겉모습이 아니라 그러한 모습을 만들어내는 움직임의 특성과 설명을 뒷받침하여 재즈댄스라는 움직임을 바르게 이해하고 소개하는데 유용한 자료가 될 것으로 사료된다.