Isadora Duncan의 舞踊藝術에 관한 考察

Abstract

藝術이란 現實의 存在究束性(Sensverbundenheit)을 超克하며, 어떤 拘束에서가 아니라 自由스러운 立場에서 永遠한 것을 創造하는 것이라고 볼 때, 舞踊의 樣式은 모두 그 時代의 社會的 要求에 의해서 이루어졌다고 해도 過言은 아닐 것이다. 社會는 쉬지 않고 變化해가고 잇는 것과 같이 舞踊도 變化해가고 있다. 이러한 現象에 의해 靜態的인 Technique의 硏磨와 固定的이고 非創造的인 樣式을 主로 한 Ballet에 反旗를 들고 傳統藝術의 自由化 運動을 부르짖게 된 것이 오늘날 現代舞踊이라 할 수 있다. 이러한 藝術創作에 基盤을 둔 現代舞踊의 確立에 槪念的 貢獻을 한 契機가 되었던 사람이 바로 이사도라 던컨(Isadora Duncan)이다. 던컨의 춤에 對한 槪念은 當時 全般的 藝術이 가장 必要로 하던 根本思想이었다. 人間의 靈魂을 성스럽게 表現할 수 있는 舞踊을 追求했던 던컨은 그가 舞踊의 精髓라고 믿은 自然스럽고 熱情的인 單純性으로의 復歸를 主張했다. 身體의 움직임에 있어서는 Ballet의 시스템을 비난하며 그리이스 文化의 繪畵 및 彫刻에 影響을 입어 自然의 숨결이 배어 있는 움직임을 硏究하여 人間 本然의 스케일에서 離脫하려 하지 않았다. 던컨은 技術의 再現이 아닌 情動과 熱情이 噴出하는 아름다움과 우리 內面으로부터 일어나는 自然스런 感情世界가 存在함을 表現하는 그러한 舞踊을 追求하였다. 던컨의 舞踊은 그 當時 舞踊詩, 맨발의 舞踊, 表現舞踊, 審美的 舞踊等으로 불리어졌으며 舞踊史的 分類에 依하면 Neue Tanz(New Dance)라고 하고 있다. 던컨의 舞踊은 肉體的으로나 感情的으로 確實한 動機가 있는 舞踊, 純粹한 音樂과 간편하고 自然스런 衣裳으로 어디까지나 아름다운 肉體를 그대로 舞臺에 올려놓은 것만이 살아 있는 舞踊, 純粹한 舞踊이 될 수 있다고 主張하고 있다. 이러한 多彩로운 舞踊을 發生케 한 던컨의 作品意識이야말로 未來의 現代舞踊에 있어서의 重要한 問題點이라 할 수 있는 基本要素인 것이다. 그러나 Isadora Duncan에 대하여 씌어진 모든 記錄 中에서 그녀의 藝術性에 對한 記錄이 거의 없다는 것은 奇妙한 일이라 하겠다. 그녀의 觀衆에게 그녀가 感銘을 주고 共感을 준 것에 대해 헤아릴 수 없는 貢獻, 稱頌, 詩, 글, 그림, 그리고 그녀를 에워싼 많은 逸話가 있지만 實際에 있엇 그녀가 主導하였고 行한 業績에 대한 恒久的인 價値와 公式化된 原則에 대해 體系的으로 言及되고 客觀的인 調査에 의해 發見된 것이 全無하다. 모든 觀點에 있어서 그녀는 流星처럼 흘러간 存在가 아닌 것처럼 더 많은 意味를 가지지도 않으며, 그녀가 좋아하던 스카프에 의하여 生을 마칠 때까지 時間을 橫斷한 過渡期的인 一個 現象이라 하겠다. 本 論文에서는 Isadora Duncan의 生涯와 그녀가 追求한 舞踊의 思想을 中心으로 그녀의 藝術性을 다루고자 하였으며 아울러 그녀 自身이 남긴 것은 아니지만 당시 함께 춤을 추었던 Irma Duncan의 記錄을 土臺로 Isadora Duncan의 抽象的이었던 춤의 槪念을 Technique로 形狀化시켜 보았다. 그리고 Isadora Duncan을 回想하는 여러 사람의 글을 통하여 그녀의 藝術을 理解하고자 했으며 現在 우리가 現代舞踊에 臨하는 態度와 領域을 擴張시켜 보았다. 끝으로 던컨의 自由의 內面性, 그리고 抒情的인 情緖의 噴出이야말로 오늘날 眞正한 現代舞踊의 原則的 生成動機에 槪念的 貢獻을 한 出發點이었음을 否認할 수 없는 事實로 規定지었다. Isadora Duncan, 그녀는 지금, 過去 그녀의 暴風雨처럼 짧았던 時節보다 實際로 더욱 偉大하며 그녀의 業績에 대한 受容이 分明하고, 時間이 흐름에 따라 大衆의 意識이 그것을 계속하여 理解하게 됨에 따라 더욱 偉大해질 것이다.;Art is the outcome of instinct of human being to reproduce impressions received from the world about him, or to find expression for the inexplicable emotions of fear, love, hate and ecstasy which urge him forward to some unknown goal, through the world of abstract phenomena. Dance externalize this human instinct through human body, because of physical structure that is why, we say dance is a reality of cultural determination. In the past-the comparatively recent past- the dance meant the ballet, and the ballet meant the ballet d'action in Europe, this consisted of sorts of plots interspersed with choreographic numbers much as a musical comedy is interspersed with songs. This class of performance fell naturally into the category of theoretical productions and was evaluated by dramatic critics. When Isadora Duncan and the romantic movement appeared, with the emphasis heavy a music instead of drama, but still with choreographic accompaniment, dancing become a subject for the music critics to deal with. Since Isadora Duncan rebelled against the rigid aestheticism of classic dance, modern dance has set itself positively expression of an inner compulsion its chief aim. Today we are reaching farther and farther ahead into uncharted regions of thought which allows development of modern civilization. Therefore a modern dancer lives with intangible emotional and mental experience and finds himself forced to express through the irritational medium. From this desire to externalized this personal authentic experience, it is evident that the scheme of modern dancing is all in the direction of individualism and away from standard inaction. Because of it, we say modern dance is not a system. The woman who devote to the establishment of modern dancing on the basis of this art critics is Isadora Duncan. Isadora Duncan was born at San Francisco, 27 May 1878 and quit ballet school at the age or 10 to devote herself entirely to dancing and with her sister, Elizabeth, taught a system of movements interpretative of nature, music, and poetry, which had some vogue in her native city. She made her first appearance in New York(1895) in the Augustin Daly company. Disillusioned by the formalism of the dance in America, she left with her family for London on a cattle boat. Joining Loie Fullers company on tour to Germany, she went on alone to Budapest, Munich, Vienna, and Berlin, taking them by storm. Failing in her attempt to build a temple of dance on a hill outside Athens, she opened (1904) a school of the dance on the outskirts of Berlin and returned to the stage, with tours of France, Germany Russia and the U.S.(1906-1908). Performing barefoot and in following costumes, she was a notable interpreter of classical music and popularized the dance as an art in the U.S., awakening an enthusiasm upon wich such later figures as Martha Graham and Agnes de Mille wereable to build a more solid structure. Pagan in her advocacy of Free love ,she had one child by Edward Gordon Craig and another by "Lohengrin", a wealthy patron. The children were both drowned in a accident, In Moscow, where the established a dance school at the invitation(1921) of the Soviet government, she finally married Sergi Yessernin, later a suicide. A moment after saying, " Je Vais a la gloire, she came to a dramatic end when her long scarf caught in the wheel of moving auto, breaking her neck. She was revolutionist through all her life. Isadora Duncan originated modern barefoot dancing. All other variations are merely immitative, for under the various disguises of a esthetic, natural, Greek, interpretive and rhythmic dancing, many a crime has been committed. Isadora Duncan dance was not of the theater, but an expression of life, and that she had not train the pupils of her school for the stage, She then proceeded to exhibit her dance creations in theater, for paid audiences and left her pupils take part in them. Isadora was both, a genius who discovered the secret of movement in its relation to the dance, and an artist who longed for self-expression. This great artist developed two things : First, her principle of movement, by using motions familiar to all races such as walking, running ,skipping, jumping, kneeling, reclining and rising. Second, she used this theory as a means to a new expression in the dance art. The principle of movement comprehended no limitation, since Isadora found that movement springs from an inner impulse, then radiates and reterns in an ever ending wave of renewal, she fixed no style, or form. It was insisted that movement from an inner impulse and expulsion of lyric emotion in Isadora Duncan was start of conceptional devote to motive of true modern dance.