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한국에서 발레의 발전에 관한 고찰

한국에서 발레의 발전에 관한 고찰
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대학원 무용학과
이화여자대학교 대학원
무용예술의 발달은 자연스런 감정의 몸짓 (표현)에서 시작되어 표현예술로 정착되었던 발레에서 였으며, 이는 전문적인 무용수와 그들을 감상하고 평가하는 관객들로 이루어지고 있다. 그동안 수많은 무용인들은 새로운 형태로의 창작을 시도하고 발표하는 과정을 반복함으로써 무용의 역사가 전개되어왔다. 한국에 있어서 발레는 갑신정변 이후 '신무용'을 통해 유입되었고, 이는 서양발레의 시작과는 차이가 있다고 할 수 있다. 그러므로 한국에서 발레의 발전과정을 문헌과 잡지 그동안 발표된 작품들을 통해 분석하고 교육적 가치를 부여하고저 한다. 연구결과를 종합하여 보면 한국의 근대무용의 시작은 ① 1926년 석정막의 신무용 공연으로부터였으며, ② 1946년 이후 형성된 발레 단체들에 의해 한국의 발레를 이끌어 오는 계기가 되었다. ③ 1950년대 들어 각 대학의 무용과 설립과 더불어 대학무용이 전개되기 시작하면서 교육무용을 통한 창작효과를 도모하였다. ④ 1962년에 출범한 '국립무용단'에서 1972년 독립한 '국립발레단'의 출범은 직업발레단으로서 본격적인 창작활동을 시도 하므로써 한국의 발레가 전개되었다. ⑤ 80년대에 이르러 발레는 고전보다는 창작발레에 더 많은 비중을 두어 전개되었는데 이는 86 아시안 게임과 88올림픽을 통해 전세계에 한국을 알리려는 노력의 일환으로 보여진다. ⑥ 또한 급속도로 팽창한 무용 인구와 실험적 정신은 발레의 소극장화 추세를 보였다. 이는 소재나 내용면에 있어 매우 간결하고 도전적이며 즉흥적인 것이었다. 그러나 서양의 발레를 한국에 뿌리내리기 위해서는 무용인들의 우리나라 미의식에 대한 새로운 인식과 더불어 발레의 완벽한 테크닉 구사에도 힘써야 할 것이다. 즉, 신체의 균형미를 최대한 살려 양식화된 발레의 특성에 한국인의 정신적 신체적 특성의 조화로운 융화가 한국에 발레를 정착시키는 길이라 여겨진다.;It is deemed that the development of dance art started from the ballet which was fixed as a genre of composite art, and it can be said that it came from the time when the professional dancers and the spectators to appreciate and evaluate ㅎ then were being divided. Getting out of being already in existence is linked to the creation of new form, and the stream of era gets to be reflected in it. In the meantime, numerous dancers have achieved the history of dance, by repeating this process. The ballelt was flowed in our country through 'new dance' afterr the Reformist Revolution in 1884, and it can be said that there is the difference from the start of Western ballet from the origin. Therefore, it is deemed that the deep study to grope for the direction of Korean ballet is very important. In this thesis, the author tries to prepare the moment to be able to develop all the more with Korean national characteristics, by studying on the growth process and direction of Korean ballet. To synthesize the study result, the start of Korean modern dance came from the performance of new dance of Suk, Jung Mak in 1926, and the historical ballet groups to be linked to 'Korean Ballet Art Dance Group' in 1946, 'Korea Ballet Group' in 1955, 'Im, Sung Nam Ballet Group' & 'Jokwang Ballet Group' in 1956, and 'Julie Ballet Group' and 'Academy Ballet Group' in 1959 were formed. In addition, since the beginning of 1950s, from the start of unfolding of university dance with the foundation of the department of dance of each universityy, the creative education effect through education dance was schemed. The start of 'National Ballet Group' which became independent from 'National Dance Grou' which set sail from 1962, in 1972 is leading Korean ballet up to now, by attempting the full-scale creation ballet as the professional ballet group. Since the beginning of 1970s, 'Dream of Jigooi' of 'National Ballet Group' and 'Korea Fantasy' of 'Hong, Jung Hee Dance Group' showed the new state in the ballet world as what made the Korean story and classic to be able to feel our racial emotion and aesthetic consciousness into the works. Thus, the works that the consciousness about the establishment of artistic view of dancers was reflected vividly were created, under the theme consciousness that ballet got out of the Westerrn imitation. Since the beginning of 1980s, ballet performance became the center of small theatre of space. There was the peculiar point, in that the reformation spirit of ballet which doesn't stick to formalityy was shown to advantage, through the avant-garde and innovative experiment works such as mime and dialogue etc. In the stage to form the new interchange of Korean ballet with the diverse expression like this, the necesity of professional exclusive theatre and profession came to be felt actually. In spite of the quantitative expansion of ballet population, the professional school which is the institutional instrument must be found, so as to improve the qualitative level. And, the under support for the growth to the national ballet to have the systematic nature must be prepared, and the positive support of national dimension for this is required keenly. Ballet is the composite art. Thus, there must be much economical support for performance. So, the support in the national dimension is required. And, it can be said that under this support, furthermore active creation activity is executed and the establishment to the national balllet may be made. As Russia made Russian Ballet' which eludes all attempts at imitation in the world now as the sublimed art, by receiving the Western Ballet, there will have to be the affirmative acceptance about our thing, above all, so as to make the ballet as our genuine art. The harmonious reconciliation of Korean spiritual and physical feature into the feature of the conventionalized ballet to keep the Physical balanced beauty alive to the maximun will be the subject of Korean ballet. Thus, in this work, only the substantial practice and steady creation action will support the construction of the execution. By doing like this, the unique peculiarity which is the independent Korean ballet will be able to be enjoyed in the world stage.
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