니체의 이성비판과 20세기 현대 춤의 반향

김말복 ( Kim Malborg ) 한국무용예술학회 2015 무용예술학연구 Vol.54 No.3

Friedrich W. Nietzsche regarded dance as the hope of salvation of man from the ceaseless pains of life and a synonym of the creation of art which justifies the existence of man. This study discusses the influences and the reflections of Nietzsche’s thoughts in the modern dance of the 20th century. Isadora Duncan, Merce Cunningham and William Forsythe are chosen as the most innovative choreographers of the 20th century, and the characteristics of their dance ideas are interpreted as the influences and reflections of Nietzsche’s thought. Duncan’s dance represents the intoxicating dance of Dionysus. Cunningham’s dance works reveal the free spirit of enjoying chances and casual thinking. Forsythe’s performance installation works can be seen as the case of performing the ‘art or body which practices the creation of their artistic existence’, which I argue as the Nietzschean ‘artistic justification of human existence.’

기호학적 관점에서 바라본 춤의 현대성과 표현

김말복 ( Malborg Kim ),이지선 ( Jeesun Lee ) 한국무용예술학회 2014 무용예술학연구 Vol.48 No.3

The study aims to highlight the modernity of dance and the meaning of expression again in the semiotic methodology, which had a great effect on philosophical thought throughout the 20th century when dancing was accepted as an independent genre of art. The study discussed the appearance of expression theory in which dance was approved as modern art as well as the meaning of dance expression from the perspective of semiology, that is the concept of the structural thinking of sign-signifier-signified and the concept of dynamic semantics. The key concept of semiology is to discover a principle by identifying the semantic phenomenon as a semiologic phenomenon and by structuralizing the system of its signification from the dichotomous view. Such a recognition of a structure is a result of an effort to discover and understand scientifically human reasoning and the consistent system of subsequent communication. Also an effort to unearth the law of reasoning and communication through movements in dance emerged consistently throughout the 20th century, and it is possible to see that movement language has been recognized as a communicative sign system just like semiologic methodology, and to put forth effort in building and spreading such a system. Headed by F. Delsarte, movement theorists including R. von Laban and E. Dalcroze approached and structuralized movement scientifically and this becomes the foundation of the sign of dance. They tried to understand the human body in which signs are expressed and to reveal the sign principle accordingly. Also, the choreographers of modern dance developed their own languages and began to establish dancing movement in accordance with the sign principle. The structural approach to movement and meaning by the choreographers of modern dance stands on the same principle of the research method of a semiologic view. Audiences who view modern dance must have been able to experience maximized appreciation of art when the principle matched the logic of the creation of signs by the choreographers while interpreting the signs against their own background. The theories of critics and leading artists in modern dance may be the result of constructing the logic of a signifier and meaning of such modern dance and of trying to have this recognized by the audience. Through the build-up of the process, modern dance has been poised as a beloved modern art that is able to reflect the zeitgeist of modern people and to express the search of meaning that the people of the times tried to pursue.

푸코(M. Foucault)와 포사이드(W. Forsythe)의 ‘헤테로토피아’ 논의

김말복 ( Kim Malborg ) 한국무용예술학회 2016 무용예술학연구 Vol.59 No.2

This paper is a comparative study of M. Foucault’s idea of ‘heterotopia’ with William Forsythe’s dance work which has the same title heterotopia (2006) to figure out the influences of Foucault’s idea on Forsythe’s work and the differences between the two. I discuss the way of ‘thinking in different’ in the process of explaining the influences of Foucault’s idea on Forsythe’s work and study Forsythe’s continuously vanishing moments of movement which offers a redefinition of dance as the process of embodied disappearance. In conclusion, as Forsythe said himself, Foucault was useful to start something. But It was not useful to finish it. Thus Foucault’s ideas were very suggestive in terms of procedure of experimenting Forsythe’s insatiable and awesome intellectual curiosity.

무용창조에서의 질적인 사유

김말복 ( Kim Malborg ) 한국무용예술학회 2016 무용예술학연구 Vol.60 No.3

본 연구는 무용창조에서 드러나는 예술적 사유의 특성을 설명하고자하는 목적을 지닌다. 안무자들이 지적인 사유나 정신적 판단 없이 예술적 창조를 하는 것은 아니지만 대다수의 철학자들은 무용에서 어떤 개념이나 이론을 발견할 수 없다는 이유로 무용의 지적 가치를 폄하하는 경향이 있어 왔다. 따라서 본 연구는 무용창조과정에서 발견되는 사유의 특성을 미국 철학자 존 듀이(John Dewey, 1859~1952)의 ‘질적인 사유(qualitative thought)’의 개념을 빌어 설명한다. 논의의 관건은 무용작품을 사유의 결과 즉 사유체로 볼 수 있느냐하는 것이다. 하지만 그보다 먼저 지적되고 설명되어야할 것은 무용창조과정에서 드러나는 예술적 사유의 특성이다. 따라서 듀이의 사상적 영향아래 예술창조에 관한 뛰어난 연구를 한 비어즐리(M. C. Beardsley)와 제랄드 마이어스(Gerald Myers)의 ‘움직임의 질(movement quality)’개념을 중심으로 무용에서 발견되는 질적 존재적 특성을 지적한 뒤 안무자들이 무용창작과정에서 자신들의 매체를 다루고 사유하는 과정에서 나타나는 무용 사유의 대상과 특성을 설명하였다.

『일리아스』와 『오딧세이아』에 나타난 춤 의미 연구

김말복 ( Kim Malborg ) 한국무용예술학회 2017 무용예술학연구 Vol.66 No.4

This study explores the meanings of dance which appeared in the Ilias and Odysseia written by Homeros. Iliad is the oldest extant work of the western literature and Odysseia is the second-oldest. These two epic poems are the origin of the Greek Spirit and used as the text for Ancient Greeks’ education and life. This study analyzed the meanings of dance and dance related terms such as dance hall, dancer, dancing party in the rhetorics of the poems. Dance was the arete for noble warriors and was thought as the central values in life with happiness, love, beauty, the art of war. And this study argues Homeros’ dance ideas expressed in his poems are the origin and base of the Greek epigram ‘apaideutos achoreutos’(a person is without culture who is without the dance) of the 4C BC. Plato explained what this epigram meant with vigor in the second book of Nomoi.

무용예술에서 카타르시스, 라사, 신명 비교논의 - 미적경험의 메커니즘을 중심으로 -

김말복 ( Malborg Kim ) 한국무용예술학회 2013 무용예술학연구 Vol.41 No.2

This study is about the comparative research of catharsis, rasa, shinmyung which are renowned concepts of explaining the mechanism of aesthetic experience in the East and the West. Even though these terms are evolved from the discussion of dance drama in original, dance researches regarding these subjects are hard to find. Therefore in these days, the terms are applied and used to explain the aesthetics of drama and mask dance. Thus this study discusses these concepts in the context of dance and tries to explain the structure of dance and the mechanism of the aesthetic experiences and the artistic communications in dance. The main hypothesis of this survey is that these three concepts of the Orient and the Occident have common features in depicting the characteristics of artistic experience and the human values of art, even if they are originated in different eras and the objects of their discussions were different. So this writer argues that they are only different terms and wordings used to explain the mechanism of aesthetic experience in art. The theories of catharsis, rasa and shinmyung are reviewed and applied in dance works which this writer considers an apt case that displays the aforementioned characteristic responses of viewers in the process of appreciating dance. The findings of this study are summarized in four aspects: Catharsis, rasa, shinmyung are basically the concept of explaining the aesthetic experiences only in different cultures and societies. From ancient dances up to contemporary dances, the type of Aristotle’s musical catharsis is the most frequently and continuously found characteristic artistic experiences in the appreciation of dance. The tragic catharsis is not the universal or the representative aesthetic experiences that can be found in contemporary dance. The taste and the subject of tragic drama loses popularity in contemporary dance works. Rasa is an excellent concept of pointing out the sense of unity between the performer and the appreciator of art works. But the specific emotions attached to each rasa raises a barrier in the universal application of this concept. Shinmyung is originally discussed in the context of mask dance and street dance which are dance impromptu in nature. Thus shinmyung befits ill in the traditional korean court dances and the performing dances like technical theater dance and contemporary dance.

20세기 초엽 독일 현대춤에 나타난 실존적 의미와 해석

김말복 ( Malborg Kim ),이지원 ( Jiwon Lee ) 한국무용예술학회 2014 무용예술학연구 Vol.47 No.2

Opposition to Positivism and Rationalism, Existentialism was born out of social unrest and, a futile and unreasonable reality that pierced the 20th century. Starting from Kierkegarrd, Niche, Heidegger, and to Sarte, humanity was disappointed and suspicious within the relative faith. So the focus of existentialism is on looking toward the inner self, establishing a true human character and going back to our ego. As Sarte once said, where everyone faces death, being human is a choice between life and death. Actionable movement, where we know the properties of life, choose life’s problems on our own, and take responsibility for it, encounters the art, movement, and worries of the modern society of modern dancers. Dances of early modern dancers can be explained in several characteristics when interpreted with Existentialism. First is that they stand strongly against rationalism that ignores one’s true identity, will and emotion. They are also against a uniform beauty that combines all other specific characteristics of individuals with a rational standard and they have made their own new beauty. This is an emotional side or of their experience and identity. Second is men’s irrational existence in a struggle that started with anxiety of living and emptiness of life to find one’s true self expressed in death. The various interpretations and development of death is a face of transcendent humanity that confronts reality, does not lose hope and shows strength. The third is a recreation of open construct, space and time. Existentialist portrayed one’s unique value in thought of space, time and images of color, and refused a fixed frame or limitations utilizing open endings. Representative of this philosophy was the German dancers Wigman and Jooss who depicted active men in their work. They did not portray someone in a stereotype or within a set of values but showed ones’ self with the results of what they experienced. Wigman expressed with the body an existential being through a witch who realized her destiny with her own will and at the same time an incomplete being who sought self-salvation while denying traditional rules. Jooss also made experienced confessions and autonomous movement by creating divergent interpretations and characters of death. Their s are a confession of subjective thought, truth, introspection and action that leads to limitations of existentialism and conquest. This research dealt with early modern dance but has limits to encompassing the existential being dominantly seen today. One hopes that diverse interpretations of dance will be achieved upon the conceptual properties of Existentialism.

무용 예술 감상에서의 고려사항

김말복(Malborg KIM) 한국체육철학회 1995 움직임의철학 : 한국체육철학회지 Vol.3 No.2

This study first takes a brief look at the historical interpretation on dance as an art. Then, the main problem points which may be attributed to the complexity of dance medium and meaning, and which affect dance appreciation are listed. The paper also surveys related discussions by philosophers in order to find clues as to how such problems may be overcome. It is hoped for that such discussions will give rise to a broader perspective in this endeavor. The following are the main considerations related to the appreciation of dance that are brough to light by this study. 1. The following are some of the problems inherent in the appreciation of dance art. A. Duplicity of meaning created by the dancer as subject B. Excessively conventional view of time and space C. The source of meaning and the problem of individuation D. Conjectures about the invisible element in dance 2. It will be more beneficial to view elements of dance appreciation in three different levels as opposed to individually. A. Dancer B. Dance C. Dancing 3. Discussions on dance art by various scholars may be compared. In applying them to appreciation, a common ground may be found in the form of elements which are not easily detectable in the dancer, movement, or work. The unfamilliar concepts used by these scholars seem to indicate that there remains much to be explained in regard in regard to dance phenomenon as a subject of appreciation. 4. It is not always desirable for dance appreciation to be oriented towards popularity. Appreciation has as its prerequisite a certain degree of knowledge or discrimination. Therefore, critics shoud not concentrate on aspects of dance which are readily detectable or easy to understand, but should direct further efforts toward describing elements of the dance phenomenon which do not show themselves as readily.

로이 풀러의 아르누보적 상징

김말복 ( Malborg Kim ) 한국무용예술학회 2012 무용예술학연구 Vol.36 No.-

Loie Fuller was one of the most innovative dance artists of the twentieth century. In the beginning of the 20th century, she was the most famous dancer in the world though some people wondered whether she was really dancing. She broke the traditional concept of choreography and prepared the way for the development of modern dance. As a “magician of light”, her work influenced not only future artists in modern dance, such as Isadora Duncan and Martha Graham, but also a whole range of poets, painters, sculptors and intellectuals. She brought both revolutionary dance forms and technical innovations in costume and lighting and made important contributions to stage lighting and to cinema techniques. She became the personification of Art Nouveau and the inspiration for many artists who idealizing her and portrayed her in a countless art works. Also she was an inspiration for poets as well as artists, she served as an ideal symbol of the symbolist movement. In this study, the developmental path of Loie Fuller’s dance style was examined from her early career at the burlesque skirt dancer in vaudeville and pantomime show to her prime time and later days. Through the study of her style, this writer pinpointed that Fuller read and portrayed the spirit of her period into dance and that is the fundamental reason why she became an icon of that cultural era. This study explains how she was accepted and interpreted as a pioneer of Art Nouveau and symbol of the symbolist movement through the critics and artists writings and criticisms. But as a conclusion, Fuller seems to have had a curious sponge like quality in aesthetic matters, absorbing and embodying the influences around her, while remaining convincingly original and unshackled to any one label or category.

해체미학의 선구 머스 커닝엄

김말복 ( Malborg Kim ) 한국무용예술학회 2012 무용예술학연구 Vol.35 No.-

This study explains the choreographer Merce Cunningham as the practitioner of deconstruction in performance. As the earliest, still most influential avant garde artist of the 20th century, he destroyed the traditional dance making procedure. His famous ‘chance method’ choreography made him the pioneer of decentralization and deconstruction in dance. The hypothesis of this study is that he is the earliest pioneer of the deconstruction aesthetics. ‘Deconstruction’ is the key idea of poststructuralism. And Cunningham’s ‘new dance’ idea for example ‘happening’ and ‘event’ are the prelude of Roland Barthes’s ‘the death of the author’. Merce Cunningham used chance method in dance making from the 1950s. Cunningham experimented the idea of chance method for the first time in 「Sixteen Dances for Soloist and Company of Three」(1951). He used chance methods to dispel the intrusion of his personality into dances. Thus he allowed the viewer structure or signify his own meaning from the dance. Also he decentralized dancer’s bodies, front and back and distributed throughout the performance space. This blurring of boundaries between back and front, center stage and outer space, results in a flattening out of single-point perspective and abandoning the illusion of depth. In this way he decentralized stage space. Deconstruction in fact has been central to Cunningham’s work from the very beginning. By placing several different actions onstage simultaneously in such a way that they make equal bids for the viewer’s attention. Cunningham decenters the dance composition, democratizing the space so that any place on the set can be important. As the result the audience is free to choose what to look at with the role of determining where to look and when. In the dances Cunningham identified as Events, he dissectes fragments from existing works and then combine them together into new choreography. And these characteristics found in Cunningham’s works are discussed as and in relation with the ‘writerly text’, ‘the birth of the audience’ of Barthes’s. And these polyvocal and open structre of Cunningham’s works are suggested as the prelude and the characteristics of deconstructist aesthetics followed in the late 1960s.