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문애령 한국무용예술학회 2008 무용예술학연구 Vol.24 No.-
Critiques must encompass a structured criterion followed by logical evaluation in order to satisfy the readers. For example, intrinsic critics concentrate on the formal properties of the art object itself. Extrinsic critics, by contrast, argue that information about the work’'s sources, the life of its creator. The objective of this study is centered on exhibiting the specific characteristics of Théophile Gautier’'s and André Levenson’'s dance critique. Théophile Gautier was the world’'s first professional dance critique during the periods between 1830s - 1870s. André Levenson’'s vividly descriptive pieces reveal a consistent theory of beauty and meaning in dance in the highly varied dance scene of Paris in the 1920s. As he passed the beginning stages of critiques, Gautier transformed his perceptions toward accepting the ‘'école parnassienne’' aestheticism rather than focusing on the romanticism. In his critics, ‘'Fanny Elssler in “"La Tempête”"’' and ‘'Revival of “"La Sylphide”"’', Gautier was an idealist who evaluated the physical characteristics of ballerinas on a hermaphrodical standard and perceived the imagery of dancing greek sculptures as the supreme form of ballet. Regardless, he always positioned himself as an aestheticist, a fervent admirer of “"Art for Art”. André Levenson was described as a critic who had the “ower of translating the dance into words. In his critic, ‘he Art and Meaning of Isadora Duncan’ Levenson emphasizes the mimetic and figurative nature of Duncan’ dances. He credits her with having created a new beauty, but he argues that the sources of this beauty are not to be found, as is commonly believed, in antiquity. Rather, Duncan generates an aura that owes more to the English Pre-Raphaelite artists than to those of ancient Greece. In conclusion, Gautier was a nineteenth-century Pagan, Levenson was one of the few dance writers who deserves to be called a ‘cholar-journalist.’
문애령 한국무용예술학회 2007 무용예술학연구 Vol.21 No.-
This research provides a view that the starting point of Dance Criticism in Korea dates back to 1945. As Journalism developed in a short time 1990s dance criticism was also formed active in various magazines.This research began with the objective of investigating the form of publications of Korean dance critique, ranging from the type of publications, the frequency, the structure, and its content. The role, value and drawbacks of Korean dance critique have been pointed out from researching the dance reviews reported in the culture section of daily publications and monthly dance journals pertaining to the year 2003.On the other hand, there is a need to accentuate the fact securing the critic independent social status would serve as the fast track toward active critiques. The financial independence of critics may be guaranteed by the publication enterprises, however this is somewhat impossible in a realistic sense. Rational institutional measures should be provided to accommodate capable critiques; however, it is regretful to acknowledge the current status of our culture has not yet reached that level.