초기 소비에트 연방의 민중문화로서의 춤 공연예술 현상연구

양민아 ( Yang Mina ) 무용역사기록학회 2015 무용역사기록학 Vol.39 No.-

본 연구에서는 1920~30년대 초기 소비에트 연방이 국가로서 기틀을 다지기 위해 민중계몽, 사회주의이념 확산, 민족통합을 목적으로 예술을 적극적으로 이용하며 나타난 민중문화로서의 춤 공연예술현상을 살펴보려고 한다. 1920~30년대는 레닌의 예술대중화 사상에 의해 신생국가 소비에트 연방을 이끌어 갈 다양한 사회계층의 국민들이 향유하고 수용할 수 있는 새로운 예술의 모습을 찾고 있던 시기였다. 따라서 이 시기는 소비에트 연방의 공연예술의 특징과 형식 그리고 방향성이 결정되는 매우 중요한 시기이다. 이는 크게 세 가지 형태로 나타난다. 첫째, 비전문인들의 예술단인 소인예술단(素人藝術團)의 활동. 일반 대중들이 공연 예술의 생산과 향유의 주체로 등장한다. 둘째, 에스트라다(Эстрада)와 민속춤의 활성화. 이는 다민족·다문화 민중들에게 널리 알려진 공연예술의 형식과 장르로 자리 잡는다. 발레안무가들에 의한 민속예술단의 탄생에 지대한 영향을 미친다. 셋째, 소비에트 발레의 탄생. 1934년에 열린 `전소련 작가동맹회의`에서 고리끼 M.이 소비에트 예술창작원리로써의 사회주의 리얼리즘을 선포하였고, 이에 따라 젊은 소비에트 안무가들은 소비에트 연방 정권이 추구하는 주제와 내용에 부합하는 소비에트 발레를 창안한다. 초기 소비에트 연방에서 형성된 민중공연예술의 형식과 레닌의 예술사상은 여타 사회주의국가들의 예술뿐만 아니라 우리나라의 1980~90년대 활발했던 민족·민중춤 활동에도 지대한 영향을 미쳤다. 앞으로 소비에트 연방 초기에 형성된 민중문화로서의 춤 공연예술의 형식과 특징들이 민족·민중춤 활동에서 어떠한 경로로 수용되고, 반영되었는지에 대한 후속연구로 이어지기를 기대한다. This study examines the trends related to dance as a performance art during the early period of the Soviet Union, a time in which art was broadly used for public enlightenment, the promotion of socialist ideology, and national integration and establishment in the 1920s and 1930s. Dance in this period will be investigated with the aim of determining who produced and appreciated dance performance, the format and genre of the dance performances, and the themes and contents of the performances. Throughout the 1920s and 30s, efforts were made to develop a new form of art that would be appreciated and accepted by Soviet people from various social classes and would help to lead the newly born country, based on Lenin`s idea of popularizing art for the general public. It was a critical period that shaped the characteristics, format, and direction of performing arts in the Soviet Union. In looking at this period, three phenomena stand out. First, ordinary people emerged as both producers and viewers of the performing arts, and an amateur performing arts group (Soin Yesuldan) became popular. Second, Estrada and folk dance became popular during this period among the multi-ethnic and multi-cultural people of the Soviet Union, which greatly influenced the birth of a folk dance company with ballet choreographers. Third, at a meeting of the Pan-Soviet Writers Alliance held in 1934, Gor`kii M. declared that socialist realism should be the principle for creating Soviet art. Subsequently, young Soviet ballet masters developed new forms of ballet in which the themes and contents were in accord with the government agenda. Dance as a performing art in the early period of the Soviet Union greatly influenced not only the art movements in other socialist countries but also Minjok and Minjung chum in Korea in the 1980s and 1990s. In this regard, future research should investigate how dance formats and characteristics from the Soviet Union have been accommodated and reflected in Korean Minjok and Minjung chum.

러시아 발레의 역사,사회문화적 정체성에 관한 연구

이지향 한국무용기록학회 2012 무용역사기록학 Vol.26 No.-

러시아는 17세기 말 표트르대제 이후 국가정책의 일환으로 유럽에서 발레를 도입하여 국가적차원에서 적극적인 보호, 장려정책을 썼다. 그 후 발레는 상류사회의 문화개혁을 위한 목적으로 더욱 발전되었고 20세기초에 디아길레프의 「발레뤼스」로 러시아의 발레가 서구 유럽으로 진출하게 되면서 탁월한 러시아 발레가 유럽과 미국등지에서 ''신고전주의 발레''로 태동하게 된다. 1917년 러시아 사회주의 혁명으로 인하여 여러 어려운 과정을 거쳐 아나똘리 루나차르스키와 레닌 등 일부 혁명지도자들에 의해 발레가 보호, 지원, 장려받게되며 1930년대 중반이후부터 정부에서 제도적으로 육성하게 된다. 1927년 발레가 혁명의 정당성과 영웅성을 그린 작품들이 나오면서, 혁명의 주체였던 프롤레타리아들 대중을 위한 러시아 발레가 시작된다. 이 시대의 러시아 발레는 리얼리틱한 발레로 내용과 형식에 있어서 구체적인 스토리의 전개와 등장인물들의 심리적 표현들을 관객들이 쉽게 이해할 수 있도록 하였다. 이것은 주제의 선택 및 표현의 자유를 획득하였다고 할 수 있다. 러시아발레의 특징은 체계적이고 엄격한 시스템에서 정부의 제도적인 지원을 받아 우수한 발레인구를 많이 확보할 수 있었고 예술적 성공뿐 아니라 이후 대중에 그 뿌리를 내릴 수 있었던 것이었다. 대중들이 공감할 수 있었던 주제와 소재를 선정하여 발레의 대중화에 성공함으로써 <돈키호테>, <잠자는 숲 속의 미녀>, <백조의 호수> 등이 계승, 발전되어 전 세계에서 공연하게 된 역사적 의의를 혁명 후부터 도출하였다. The article provides a flow chart for the transitions of the Russian ballet in the time span between the late 17th century to the early 20th century. More than a historical flowchart of the Russian ballet, it confers further detailed understanding of causes and effects which had shaped today's unique Russian ballet. Ballet was never originated in Russia. Ballet was a form of high class dance which was imported from the western European countries in the 17th century. Its initial landing in Russia was promoted by Czar Pyotr I who had ambition to reform Russia into a more civilized as well as mightier state. The ballet was one of his national policy. The initial phase of the newly introduced ballet involved with active absorbing from invited ballet masters and choreographers. The western ballet style was readily accepted as a standard to follow. Ballet institutes such The Imperial Ballet Schools and Theatres were established and mostly centered at the cities St. Petersburg and Moscow with the supports of Russian monarches. As it approached 19th century, the Russian ballet which was originally adapted from other western countries for the purpose of cultural enlightenment of the ruling classes became more specialized. The expression of the ballet with splendor was the essence of all and more or less it became a heritage character of the Russian ballet. However, the recognition of the Russian ballet's true identity as ''Ballet Russes'' began in the early 20th century. This gaining of the world wide reputation of the Russian ballet owed to the work of Diaglilev along with his many recruited outstanding ballet dancers. They actively performed the so called ''neoclassical ballets'' or ''Ballet Russe'' overseas. As a result, the Russian ballet became the origin for the introduction of the neoclassical ballet overseas, particularly in Europe and America. This became meaningful in that the Russian ballet had gone beyond the status for the purpose of the limited cultural revolution. The neoclassical Russian ballet was rather a national symbol of arts. The Russian ballet then experienced vicissitudes of various changes in plots and styles after the socialist revolution in 1917. It was age of political and economical chaos, and there was no leniency for people who desperately sought daily necessities to enjoy the ballet. Worse than it, a large population of critics censured the ballet as an abominable product of the former imperial family and the bourgeois class. The proposal of abolishing the ballet performances was refuted by the very leader of the revolution. The communists, Lenin, Anatorii Luncharsky and others still willing to sponsor the progression of the ballet since they thought the ballet was required to nurture the public. However, the ballet in this time, transformed into a tool to the sociologist ideology. More and more ballets with unrealistic plots were removed and replaced by the ballets with proletarian tastes. In fact, the ballet productions after the revolution were characterized by their emphasis on the heroism and legitimacy to the revolution. On the other perspectives, the Russian ballet during the post revolutionary period was more down-to-earth. The plots and styles focused on detailed storytelling and the psychological representations to the audience. Under the constant support and supervision of the socialist government, the Russian ballet prospered and enabled to capture high quality ballet population. Important of all, the Russian ballet was able to maintain familarity from the general public and continuously be cherished as national heritage. Although the ballet under the influence of the communism brought some downturn of its true artistic purpose, the ballet survived and further prospered among the general public. With the strong will power of Russian ballet masters such as Agrippina Vaganova and others, the Russian ballet was able to retain its classic elements from the past. Thus, a wholistic or a well balanced ballet form emerged. Familiar topics of the classic ballets such as <Don Quixote>, <The Sleeping Beauty>, <The Swan Lake>, <The Nutcrackers> and still others were kept and performed all around world. Therefore, the Russian ballet resumed its artistic essence and was able to derive historical meaning to its ballet since the Russian revolution. After all, the Russian ballet was meant to develop for the purpose of artistic expression, not merely be manipulated for the purpose of socialist ideology.

트랜스 컬처 씨어터: 러시아 문화외교 자원으로서 모이세예프 민속발레단

신혜조 한국슬라브․유라시아학회 2022 슬라브학보 Vol.37 No.1

This study examines the creative domain of Soviet choreographer Igor Moiseyev, the past activities of the ‘Moiseyev Dance Company,’ and the organization’s achievements on the international stage. It emphasizes the cultural and diplomatic functions of folk performing arts and their potential as resources of public diplomacy. It also talks about how the organization made a significant contribution toward alleviating the American society's preconceived notions about the Soviet Union. Such a discussion is important because the company was recognized as a propaganda tool for the Soviet system in the past. Even today, decades after the collapse of the Soviet Union, it plays a pivotal role as a ‘cultural diplomacy organization’ of Russia. This study posits that the company’s stage, which encompasses Eurasian and global cultures, needs to be reinterpreted from a 'transcultural' or 'cross-culture' perspective rather than a political perspective. Specifically, the new ballet style pioneered by this organization was born through the convergence of the differences between European, Soviet, and heterogeneous cultures (e.g., multi-ethnic culture). Therefore, a more balanced interpretation and an updated evaluation from a modern aesthetic point of view are required. 본 논문에서는 소비에트 안무가 이고르 모이세예프의 창작세계와 ‘모이세예프 민속발레단’의 지난 활동을 살펴보고, 해당 단체가 국제무대에서 거둔 성과들을 되짚어보았다. 소비에트에 대한 서구사회의 선입견을 완화시키는데 크게 기여한 이 발레단체의 활동 사례를 통해 민속 공연예술의 문화 외교적 기능과 공공외교 자원으로서의 가능성에 대해 논의하였다. 이와 같은 논의가 필요하다고 생각되는 이유는, 줄곧 소비에트의 체제 선전 도구로 인식되었던 모이세예프 발레단이 소련 붕괴 이후 오늘날까지도 러시아의 ‘문화외교단체’로서 중추적인 역할을 담당하고 있기 때문이다. 본 논문에서는 유라시아 및 세계 문화를 아우르는 그들의 무대가 오늘날의 관점에서, 정치적 관점이 아닌, ‘트랜스 컬처’적 혹은 ‘크로스 컬처’적 관점에서 재해석될 필요가 있음을 밝히고 있다. 이 단체가 확립한 새로운 양식의 발레는 유럽 문화와 소비에트 문화, 다민족 문화 등 이질적 문화들의 차이가 융합됨으로써 탄생되었기에, 현대 미학적 관점에서의 해석과 평가가 필요하다는 견해이다.

러시아 발레에 관한 연구

정소영 충남대학교 아시아지역연구소 2004 아시아지역연구 Vol.6 No.-

The history of Russian Ballet dated back about 300 years ago. Europian ballet at first introduced to Russia when Peter the great ruled over and then was recreated as Russian ballet. There were rapid changes in politics, society and economy in Russia for three centuries and so difficult situations were produced. However, Russia respected the artists and, on the basis of condensed knowledge, put new style and idea into ballet and created it as its own style. As the result of these tryings, today Russia puts ballet in a highest place of ballet in the world. Therefore, this paper, which studied the history of ballet, will be paved a way for seeing the ballet in the 21st century and in the future.

20세기 소비에트 발레 동향과 사회주의 리얼리즘 작품 연구

이희나 무용역사기록학회(구 한국무용사학회) 2017 무용역사기록학 Vol.46 No.-

혁명과 발레 : 소비에트 혁명발레 유산의 재조명

신혜조 한국러시아문학회 2016 러시아어문학 연구논집 Vol.55 No.-

This paper examines the changes witnessed in the field of ballet during the post-Revolution period from the late 1920s to 1930s with a focus on the Russian Revolution in 1917 from the perspective of continuity with the Soviet Union`s revolution ideology and highlighted significance of ballet in the revolutionary period from the contemporary context. During the early 20th century, the beginning of the Revolutionary Period, Russian ballet was regarded as a component of totalitarian culture and was in danger of being abolished. To overcome such a gloomy outlook, ballet masters, including Tihomirov, Lachlin, Goleizovsky, and Lopukhov, explored new modes of ballet. Their attempts helped open the door to proletariat ballet which focused on the lives of the public, and targeted the public as the audience. Through their efforts, ballet was brought back to the hands of the public who were not able to afford the extravaganza called `ballet` in their daily lives. The novel modes of ballet, as created by those ballet masters, were characterized by the tendency to return to classical ballet modes, the adoption of acrobatic choreography, and a collective ideology. The distinct features of Soviet ballet had a tremendous influence on the Moscow Bolshoi Ballet, which was led by Yuri Grigorovich in the period that followed (1960s to 1980s), in its endeavor to build unique creative world. Therefore, the exploration of the Soviet ballet aesthetics in this study would be indispensable for understanding the aestheticism of Russia`s Bolshoi ballet, which has played a pivotal role in world ballet to date, by going beyond the contemplation of the ballet of the past.

A study on the Cultural Character of Russian Ballet

이지향 무용역사기록학회 2012 무용역사기록학 Vol.26 No.-

The article provides a flow chart for the transitions of the Russian ballet in the time span between the late 17th century to the early 20th century. More than a historical flowchart of the Russian ballet, it confers further detailed understanding of causes and effects which had shaped today's unique Russian ballet. Ballet was never originated in Russia. Ballet was a form of high class dance which was imported from the western European countries in the 17th century. Its initial landing in Russia was promoted by Czar Pyotr I who had ambition to reform Russia into a more civilized as well as mightier state. The ballet was one of his national policy. The initial phase of the newly introduced ballet involved with active absorbing from invited ballet masters and choreographers. The western ballet style was readily accepted as a standard to follow. Ballet institutes such The Imperial Ballet Schools and Theatres were established and mostly centered at the cities St. Petersburg and Moscow with the supports of Russian monarches. As it approached 19th century, the Russian ballet which was originally adapted from other western countries for the purpose of cultural enlightenment of the ruling classes became more specialized. The expression of the ballet with splendor was the essence of all and more or less it became a heritage character of the Russian ballet. However, the recognition of the Russian ballet's true identity as Ballet Russes' began in the early 20th century. This gaining of the world wide reputation of the Russian ballet owed to the work of Diaglilev along with his many recruited outstanding ballet dancers. They actively performed the so called neoclassical ballets'or Ballet Russe'overseas. As a result, the Russian ballet became the origin for the introduction of the neoclassical ballet overseas, particularly in Europe and America. This became meaningful in that the Russian ballet had gone beyond the status for the purpose of the limited cultural revolution. The neoclassical Russian ballet was rather a national symbol of arts. The Russian ballet then experienced vicissitudes of various changes in plots and styles after the socialist revolution in 1917. It was age of political and economical chaos, and there was no leniency for people who desperately sought daily necessities to enjoy the ballet. Worse than it, a large population of critics censured the ballet as an abominable product of the former imperial family and the bourgeois class. The proposal of abolishing the ballet performances was refuted by the very leader of the revolution. The communists, Lenin, Anatorii Luncharsky and others still willing to sponsor the progression of the ballet since they thought the ballet was required to nurture the public. However, the ballet in this time, transformed into a tool to the sociologist ideology. More and more ballets with unrealistic plots were removed and replaced by the ballets with proletarian tastes. In fact, the ballet productions after the revolution were characterized by their emphasis on the heroism and legitimacy to the revolution. On the other perspectives, the Russian ballet during the post revolutionary period was more down-to-earth. The plots and styles focused on detailed storytelling and the psychological representations to the audience. Under the constant support and supervision of the socialist government, the Russian ballet prospered and enabled to capture high quality ballet population. Important of all, the Russian ballet was able to maintain familarity from the general public and continuously be cherished as national heritage. Although the ballet under the influence of the communism brought some downturn of its true artistic purpose, the ballet survived and further prospered among the general public. With the strong will power of Russian ballet masters such as Agrippina Vaganova and others, the Russian ballet was able to retain its classic elements from the past. Thus, a wholistic or a well bala...