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마임 (mime)의 역사적 고찰 및 그 창조적 과제

Title
마임 (mime)의 역사적 고찰 및 그 창조적 과제
Authors
이정희
Issue Date
1977
Department/Major
교육대학원 체육교육전공
Publisher
이화여자대학교 교육대학원
Degree
Master
Abstract
If modern dance is to have its proper role as an art which is related to human life there should first be a very good understanding of the human person. With this understanding of the personality of man and as an intermediary step there must be a scientific analysis of mime as a creative body art. This last step is absolutely essential. The human body is not only an instinctive animal influenced by physical drives and desires, but, also the human being is endowed with spiritual and rational searches eternally for a creative relationship with God. Thus, we observe in ancient society that mime, dance and religion were closely related. Human activities from the earliest times brought these things together. In modern times dancing and mime, of course, as they are closely related, but particularly mime, have been circumscribed as pure body arts. It is this situation which has led me, in this thesis, to take an historical approach to mime and its creative task. From the observation of human history it is clear that mime began with human history. From beyond time and space, mime can be traced in its various forms right up to the present. Nevertheless, it is also true that,, at the present time, mime as an art is not very well developed as an independent field of study. Rather it has been connected with other art or religious fields. Furthermore, the creative task of mime has yet to be isolated and developed. Since literary, technological and language culture are now reaching the limits of their creativity it is absolutely essential that the creative task of mime should be unfolded and allowed to develop. In the search for the creative task of mime I will begin with a comparison of the Hebrew and Greek philosophical approaches to the understanding of the human body in western culture. In the Greek traditional attitude to human nature the physical body was thought to be entirely separate from the spiritual person while in Hebrew thought, the human person was thought of as a unit by the creative power of God. Thus, in Greek thought the body tended to be ignored while the Hebrews believed that, the human person had two aspects - body and spirit - both a part of God's creation in the one unit. Christianity came into Greek culture with its two dimensional attitude to the human person and was never able to break down this dualistic idea of the Greeks. They looked upon the body as dammed and thought, that the bodily arts such as dancing and mime had no place in churches or in services of worship. However, the human personality is unchangeable - it is not altered by the various religious and cultural systems. As a result, mime as a body art has persisted and developed in various places and in various forms. In this thesis I have tried to analyse the rich symbolic capability of the body and to look at this symbolic capacity as it comes into the communication process through gestures. In this connection I have studied concrete cases. I observed the creative task of mime as I saw it in modern dancing, drama, Bible study, worship ceremonies and in traditional Korean dances. After these observations, the conclusion is that mime has a role as a stimulating force in these various religious and artistic fields. This is not a final conclusion but only a beginning of the scientific analysis of the creative task of mime which is so absolutely essential. The creative task of mime should be studied in future as follows. First, a proper understanding will come only with further study of the body not only in Western culture but also in Oriental culture in its various components. The study should be biological and psychological and should rise finally into the spiritual - into the field of higher religions. Secondly, the search for the creative task of mime should include careful research into traces of mime in Korean traditional culture. At the same time there should be careful attention as to whether Korean traditional dancing has the ability to not, only overcome its natural chauvinism but also the power to resist absorption into foreign cultural patterns and to retain its own unique identity Thirdly, the creative task of mime cannot be understood through a simple theoretical approach, There must be serious study of many concrete experimental cases.;본 논문은 몸의 예술로서의 무용을 창조적으로 발전시키기 위해서 몸에 대한 올바른 이해와 그 몸의 예술로서 기초적인 것이라고 볼 수 있는 마임을 역사적으로 고찰하면서 그 마임의 창조적 과제를 모색하고자 하는 시론이다. 인간의 몸은 동물의 몸과는 달리 신의 형상으로 창조된 것으로서 정신적, 이성적 존재인 동시에 신과의 부단한 관계를 모색하는 영적 존재이다. 인간의 근본적인 자기표현으로서의 몸짓 언어인 마임은 인류가 존재한 때부터 오늘 날까지 시공을 넘어서 계속되어 왔다. 따라서 마임은 인간의 생활과 관계된 모든 분야, 즉 종교, 예술 등 생활의 모든 영역과 관계를 가지게 된다. 마임은 때로는 독자적으로 때로는 무용, 연극, 오페라, 종교양식 속에서 그 활력을 계속해 왔다. 그러나 지금은 이 마임이 보다 더 독자적인 자리를 개척하여 다른 예술분야와 적극적인 관계를 맺기 위해서도 몸에 대한 바른 이해가 선행되어야 할 것이다. 몸의 천대나 가치절하는 곧 마임의 박해와 연결되며, 몸의 복권은 바로 마임의 발전과 관계된다고 하겠다. 본 논문에서 몸에 대한 정치적, 종교적 제재와 관계없이 몸이 본래부터 지니고 있는 구체적인 상징성과 그것의 의사전달로서의 제스츄어, 그리고 그것의 예술화에 노력해 온 역사를 더듬어 보았다. 또한 필자는 마임이 그 창조적 과제를 다하기 위한 전제로서 마임의 기본적인 Exercise를 검토하고, 그것이 현대 무용, 연극, 종교 특히 기독교와의 관계, 그리고 한국의 민속무용과의 관계를 찾아보고 앞으로의 마임의 독자적인 발전과 모든 예술 분야에서의 새로운 창조적 과제를 찾아보고자 한다. 마임은 다른 예술 양식에의 창조적 기여뿐만 아니라 기술문명에 의해서 비인간화 되어가는 현대의 상황 속에서 진정한 인간화의 폭 넓은 과제를 위해서도 적극적인 역할을 해야 한다고 생각한다. 인간화의 문제는 구체적으로 인간의 몸믜 복권을 의미하기 때문이다. 그럼에도 불구하고 가장 오래되고 가장 넓게 인간의 삶에 관계되어 온 마임에 대한 연구나 개발이 극히 후진성을 면하지 못하고 있는 실정이다. 그래서 본 논문에서 이런 미개발의 영역은 금후의 과제로 남겨두고, 다만 이러한 문제의식의 제기와 그것이 발전해 나갈 방향만을 제시하는데 그치고자 하였다.
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