Merce Cunningham의 舞踊思想

Abstract

Both for contemporary dancers and for students of dance history, Merce Cunningham stands out as a dominating influence in the field. In his long and still vital career, he has been a figure at once pivotal and seminal; making revolutionary breaks while defining new conventions. His aesthetic vision, as it has emerged through the example of his work, through his stimulation of other creative talents, and through his occasional formulations of his artistic ideals, can be comprehended as a coherent ideology, and has exercised an influence beyond the world of dance. Indeed, Cunningham has been a major force behind the shaping of the avant-garde scene and sensibility, and behind the reorientation of the artistic focus away from the emotional-thematic and toward the discovery and articulation of form. This thesis is an examination of that aesthettc vision, and an attempt to deliniate and analyze the work of Merce Cunningham in terms of his artistic ideals and the theories he has formulated. Among the topics it addresses are his definition of the role and goals of dance, and his emphasis on discovery of new aesthetic dimension inherent in industrial and post-industrial civilization. It discusses some of the implications of Cunningham's belief in the artistic integrity and independence of the various elements-music, costume, set design, lighting - of a dance performance, and of his stress on randomness and chance in different stages of the creative process. This thesis explores several levels of Cunningham's theory of the democratization of art by examining his mode of creativity and his relationships with his colaborators. It attempts to broaden and enrich the conceptual framework within which we con-sider Merce Cunningham's efforts to recreate time and space through dance.;現代舞踊의 歷吏를 살펴볼 때 1960年代 이후는 오늘날의 現代舞踊 發展에 重要한 意味를 주는 데 더욱 Merce Cunningham의 存在는 중요시 된다. 그의 舞踊思想은 새로운 試圖로서 많은 舞踊人들의 硏究對象이 되고 있다. 그가 改革하고자 했던 주된 意味를 包括的으로 보면 19C의 感覺과 論理는 이미 사라졌고 이제는 새로운 形態의 文化가 追求되어야 한다는 것이다. 즉 그의 理論的 方法論은 偶然性(Chance Operation)으로 說明될 수 있다. 그는 觀客들에게 그의 前衛精神에 依해 舞踊이 變貌되어가고 있음을 보여주고, 藝術에 對한 眼目을 높여주었으며, 우리에게 舞踊에 對한 새로운 定義를 내려준 人物이라 할 수 있다. 本 論文은 그의 生涯와 藝術觀의 追求로 展存의 舞踊觀에 對하여 끊임없는 많은 疑向을 갖고 새로운 次元의 舞踊을 主張한 그의 藝術論을 살펴보았다. 또한 그의 作品을 通해서 反古典去義 舞踊의 可龍性에 對한 革命的인 試圖로서 舞台 空間을 自由스러운 構成으로 展開시켜 나가는 時間과 空間의 再創造的 方法論을 考察코저 試圖하였다. Merce Cunningham은 확실히 現代舞踊史에서 舞踊의 構成 要素에 對한 硏究로 旣存觀念을 뒤엎은 存在이었다. 따라서 本 硏究에서는 Cunningham이 美國 現代舞踊 發展에 미친 영향에 對한 考察과 그를 重心으로 한 주변人物 및 第子들의 活躍으로 Cunningham이 現代舞踊의 새로운 誕生을 完成시킨 象徵的 存在임을 再認識하는 동시에 現代舞踊을 硏究하는 舞踊人들에게 보다 創造的인 舞踊觀 確立에 貢獻함에 있다.