1980년대 한국 창작무용 연구

Abstract

1980년대는 한국무용계에 있어서 하나의 전환기를 이룬 중요한 시기였다. 1980년대 이전까지 한국무용에 비해 활발한 활동을 이루고 있었던 현대무용이 퇴조 현상을 보이는 동시에, 이제까지의 한국무용을 대표하던 신무용을 대체하기 시작한 새로운 한국무용의 장르가 서서히 태동하기 시작하였던 것이다. 한국창작무용이란 이름 아래 이루어진 많은 시도는 평론가들에게 주목을 받게 되었고, 일련의 시도는 "새로운 한국 춤의 도래" "한국무용의 역사적 전환기" "기로에 선 한국무용" "새로운 방향 찾기의 모색 " 등으로 표현되었다. 결국 한국창작무용이라 불리 우는 이 새로운 장르는 어떠한 방법으로 어떻게 "현대속의 한국무용" 혹은 "한국무용의 현대화" 작업을 수행할 것인가라는 문제점의 해소책을 찾는 과정에서 나타난 결실이라 보여진다. 한국창작무용의 등장과 함께 이전까지는 한국무용, 발레, 현대무용으로 뚜렷이 구분되던 춤의 장르가 이제는 그 독자성이 서서히 무너지는 추세를 보이고 있다는 점에서 협의적 한국무용이 현대무용까지 포함한 광의의 한국무용으로서 확장되게 되었다. 그러나 여기서 가장 중요한 것은 한국 전통무용의 현대화 과정에서 일관된 토대를 이루고 있는 것은 우리 것이 아닌 남의 것을 도용한다는 것이 아니라 한국인의 정취와 나아가서는 세계관을 표현하고자 한다는 것이며 그런 의미에서 긍정적으로 한국창작무용이 추구하는 것은 진정한 우리 춤을 지향한다는 것이다. 1980년대는 한국창작무용의 공연횟수가 다른 장르의 무용공연에 비해 두드러지게 증가하고, 이러한 양적인 팽창이 질적인 향상을 수반하였던 것과 동시에 무용평론의 활성화가 이루어진 시기이기도 하였다. 무용평론계에서는 나름대로 한국창작무용의 등장을 계기로 이루어진 한국무용의 활성화를 평가하고 문제점을 지적하고자 노력하고 있었다고 보여진다. 본 논문에서 한국창작무용의 현대화 과정에 나타난 성과와 문제점을 평론과 언론의 반응을 토대로 살펴보고자 하는 이유는 이에 따른 많은 문제 제기의 중요한 일차적 자료가 된다고 생각하였기 때문이다. 1980년대 한국창작무용의 관련 평문에서 주된 관심사는 한국전통무용의 문제점과 이의 극복 방향, 이 극복의 기본적 자세, 즉 전통수용의 비판과 조화의 문제점, 전통의 변형과 창조를 통한 한국무용의 현대화 과정의 문제점, 그리고 이러한 문제점을 어떻게 극복하여 앞으로 한국창작무용이 나아갈 방향을 제시할 것인가라는 것이다. 본 논문에서는 이에 관한 관련 자료들을 통하여 한국창작무용의 위상정립과 현대화 과정을 점검해 보고자 하였다.;The 1980's is a significant decade interms of a turning point where the Korean Dances have made an epoch-making development. For the modem Western dances that has achieved active progress before the 1980's in comparison that the Korean traditional dances began to regress, while a new genre of Korean Dances have come to emerge to replace the Korean dances which. has so far been the typical genre of the Korean modem dances, slowly. Many an attempt done under the name of Korean Creative Dances has' drawn a great deal of attention from so many critics, and a sereies of attempts, and trials were referred to such as "the advent of new Korean Dances", "an historical turning point of Korean Dances", "Korean Dances on the standing at the crossroads", or "Korean Dances in search of new directions", etc. When considering the background for the inception of a new genre in the Korean Dances, first, such view points as getting rid of the pre-modern and anachronistic materials and themes, and absorbing realistic and impressive contents through expansion of the materials and modes of dancing performances because of the necessity to excite audiences' sympathies and responses; second, the requirements to develop a variety of dance languages to deliver what desired to be expressed in such ways, are creditable to the emergence of such movement; and thirdly, it can be further pointed out that such a trend is a product of the innermost essential necessity that dance performers themselves have experienced on the stages through their consciousness. of both the new viewpoints in dancing aesthetics and the historic and social characters of dances. While, at the same time, from the point of external view of dance in line with the development of scientific techniques and technology, the availability of the use of computers and acoustics is also attributable to such a movement and trend as one of factors involved. Further, in terms of social aspect as the living standard of the people improves and the interests of the general public in the overall cultures in respect with the national culture have extended, so have their interests in dances. Thus, it can be noted that the number of audiences for dance performances and that of readers of dancing technical magazines has numerously increased. The most important matter, however, is that the objectives in such a movement are to express Koreanistic sentiment and furthermore the world-view, but it is not what Korean Dances are purposed to imitate or plagiarize alien ones, thus so it is to what the Korean Creative Dances seek for in a Korean style is the realization of Koreas Dances in the true sense of the words. This new genre of the so-called "Korean Creative Dances" or "Creative Korean Dances" could be viewed as the product of the trial and failure of this past sixty years in terms of the outcome in the course of seeking for a resolution for the problem how to implement the work of "Korean Dances in the contemporary world" or "Modernization of Koreas Dances." On the other hand, viewing from the aspect of dance-performance the Korean Creative Dances have substantially grown up in performance frequencies when compared with those in other genre, and such a quantitative growth has accompanied qualitative improvement on one hand, and the 1980's is a decade where the Dance Critics has become active on the other. In the world or the Dance Critics, in seems that they have tried to point out some problematic matters in evaluating the vitalization of the Korean Dances materialized by the starting point of the advent of the Korean Creative Dances. The reason for my attempt to criticize both outcomes and results produced in the course of modernization of the Korean Creative Dances in this essay is because I believe that this may serve as the primary material of significance to many criticisms to follow. The main concern the critiques of the Korean Creative Dances of the 80's are the problematic matters of the Korean traditional dances and the direction toward their resolutions, and the attitudes to their resolutions, that is, crtiticism on the reception of the traditions and the problems of harmony, the results and problems in the course of the modernization of the Korea's Dances through the alteration and creation, and the question of how to overcome these problems and how to suggest the direction along which the Korean Creative Dances will proceed in the future. I have tried to examine, in this thesis, the modernization process of the Korean Dances through the crituque statements with regard to these problems above.