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Nijinsky의 作品世界

Title
Nijinsky의 作品世界
Other Titles
On Nijinsky's works with La sacre du Printemps
Authors
南貞鎬
Issue Date
1978
Department/Major
대학원 체육학부무용전공
Publisher
이화여자대학교 대학원
Degree
Master
Advisors
洪禎姬
Abstract
The present study is intended, through "Le sacre du Printemps" (The rite of Spring) choreographied by Russian Dancer Valslav. Nijinsky, to understand him and study how the primitive methods of expression used in it have influenced Modern Ballet. To examine this, such subjects as follows wast be studied; 1. The career and genealogy of Nijinsky. 2. Ballets Russes in which Nijinsky took on active part. 3. The motive and process of his choreographied work "Le sacre du Printemps". 4. The relation between the choreography of Nijinsky and the music of Stravinsky. 5. Aesthetics of "Le sacre du Printemps" In addition, through his four works s "L'apr'es midi D'un Faune", "Jeux". "Le sacre du Printemps", "Tyl Eulenspiegel", an attempt to find out his ideological system was made. In consequence a consistence among four works was not to be found but, a startting point for a new ism was to be found out. The results of this attempt is to be summerized as follows : First, Ballets Russes led by Serge. Diaghlev, which was organized by many young elites completed Ballet Romaticism and played a leading role in Modern Ballet. Second, tragic as the career of Nijinsky titled "God of Dancing", his four works during the comparatively entirely new opening in dance of modern age. Third, "Le sacre du Printemps" was according to the theme, the ancient ritual of pagan age and was made through the cooperation of producer Diaghilev, composer Stravinsky, painter Roerich and choreographer Nijinsky. But the most great part of this work is Nijinsky's choreography, the failure of the first performance was wholly attributed to Nijinsky himself. Fourth, the important problem of "Le sacre du Printemps" is related with music and in this case, dancing was dependent upon music, and so dancing failed to have its own dynamic image and did nothing but translate music into dancing. Fifth, through "Le sacre du Printemps" Nijinsky made use of dancing based on primitive aesthetics and broke from the traditional Ballet. He also contributed greatly to Modern Ballet through the native as well as liberal motions in expression. ;本 論文은 Russia의 舞踊家 Nijinsky가 按舞한 “Le Sacre du Printemps (봄의 祭典)”을 硏究함으로써 Nijinsky의 作品世界를 理解하고 아울러 이 作品의 原始的 表現이 Modern Ballet에 미친 影響까지 考察하는데 그 意義가 있다. 이것을 規命하기 爲해서 提起되는 問題로는 1 . Nijinsky의 生涯와 作品系譜 2 . Nijinslsy가 活動한 BalletsRusses 3 . “Le Sacre du Printemps”의 創作動機와 過程 4 . 按舞와 Stravinsky音樂과의 關係 5 . “Le sacre du Printemps”의 原始性 을 硏究하지 않을 수 없으며 그 外에도 그가 按舞한 四作品(①“L'apr?s midi D'un Faune”, ② "Le sacre du Printemps", ③"Jeux",④"TyI Eulenspiegel")을 通하여 그의 思想的 맥로를 알아보려 했으나 各 作品마다 단절된 思想으로 一貫性은 없는 反面 Ballet가 오늘날에 이른 모든 새로운 思想의 분기점이 된 것을 發見할 수 있었다. 硏究結果를 綜合해 보면 1. Serge.Diaghilev를 中心한 Ballets Russes는 수많은 젊은 天才들로 構成되어 BalIet Romanticism을 完成하고 Modern Ballet의 선구자가 되었다는 點 2. “舞踊의 神” 이란 稱號를 받은 Nijinsky의 生涯는 비록 悲劇的이었지만 舞踊에 從事한 짧은 期間(1909~1916)에 그가 按舞한 四作品은 舞踊에 있어서 모두 完全히 새로운 方向을 提示했다는 點 3. “Le sacre du printemps”의 創作過程은 Russia異敎時代의 太古儀式을 主題로하여 製作者(Diaghilev), 作曲家(Stravinsky), 美術家(Roerich) 들의 協力下에 이루어 졌으나 Nijinsky의 按舞比重이 가장 무거웠기 때문에 初演에서의 失敗는 그 理由가 모두 Nijinsky에게만 集中되었다는 點 4. “Le sacre du printemps”에서 必然的으로 提起되는 問題는 音樂인데 舞踊이 音樂에 從屬되어 舞踊自體의 Dynamic한 Image를 따로 구축하지 못하고 音樂의 번역자적인 구실밖에하지 못해 Nijinsky의 按舞는 音樂에서 完全히 解放되어 그 獨自的인 世界를 구축하지 못한 缺點을 가졌다는 點 5. "Le sacre"의 美學은 결국 原始美에 귀결되는데 Nijinsky는 Le sacre du printemps를 通하여 原始美에 入脚한 舞踊을 구사하여 傳統的인 Ballet의 틀에서 벗어나 土俗的이면서도 自由로운 움직임으로 이를 완벽하계 表現하여 Modern Ballet에 至大한 影響을 미쳤다는 點 으로 要約된다.
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