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한국 근대무용에 있어 춤 움직임 특질 연구

Title
한국 근대무용에 있어 춤 움직임 특질 연구
Other Titles
(A) Study on the Characteristic Dancing Movement in Korean Modern Dance : Especially on by 1960's
Authors
朴羨昱
Issue Date
1993
Department/Major
대학원 무용학과
Keywords
한국근대무용움직임
Publisher
이화여자대학교 대학원
Degree
Master
Advisors
김말복
Abstract
본 연구에는 1900년대 초부터 1960년대까지의 <신무용>의 움직임과 미적인 특질을 알아보기 위해, 해방 전.후로 나누어 <신무용>의 개념과 움직임을 살펴보고자 한다. 일본을 통한 근대문화의 유입과정과 같이 춤도 일본인 석정막을 통해 본격적인 극장양식의 춤을 받아들이게 되었다. 이러한 과정에서 최승회, 조택원이 석정막의 문하에 들어가게 되고 1930년대 이후 독자적인 작품 활동을 펴게 되었다. 그러나 많은 학자들은 당시의 춤에 대해 전통의 원형을 상실한 것이라 비판을 하게 되고, 이러한 시각은 1960년대까지도 이어져 오고 있다. 해방 후 많은 무용단체가 조직되었으나 전쟁으로 인해 무용인들이 월북을 하게 되고 새로운 세대에 의해 무용계는 재편되었다. 송범, 김백봉, 임성남 등이 주축이 되어 활발한 공연을 펼쳤으나 각자의 쟝르에 대한 확고한 의지보다, 공연 형태에 따라 다른 쟝르의 춤을 추기도 했다. <신무용>의 개념도 초기의 새로운 양식의 춤이라는 것으로부터 한국춤의 한 장르로 바뀌게 되었다. 1926년부터 1960년대까지 움직임 및 미적인 특징은, 움직임 자체에 대한 깊이 있는 고찰이 부족하여 부차적인 요소들 즉 의상, 무대장치와 같은 것에 치중하여 움직임의 정립이 되지 못한 상태였다. 그래서 초기의 유미적인 표현형태가 계속 지켜져 오면서 분위기 위주의 이미지를 전하는 형태로 점차 굳혀져 가게 되었다. 1970년대 후반부터 일어난 전통에 대한 학적인 연구가 창작과 관련하여 움직임의 시도를 하기까지, 1960년대의 춤은 초기의 <신무용>적 움직임에서 크게 벗어나지 못했다고 할 수 있다. 본 연구에서는 당시의 춤을 직접 보고 관찰할 수 없음으로 인해 여러 자료를 통한 <신무용>의 춤을 유추하여 그 윤곽이나마 잡아보고자 한다. 그러나 단순한 역사적 사실을 기술하는 것보다도 한국무용사의 큰 흐름을 파악하기 위한 하나의 측면으로서 움직임에 근거하여 <신무용>의 특징과 그것의 의미를 찾아보도록 하겠다.;The modernization of Korea has been done under the Japanese rules which is characteristic in the Korea history. Likewise the Korean modern dance was introduced by Suk Jung Mak, one of the representatives of Japanes dancer, but, strictly speaking, it was not a modem dance but a Suk Jung Mak's style of creative dances. It may not be a proper attitude with an historical viewpoint to regard such a Suk Jung Mak's style of creative dances as the precursor of the Korean modern dance. The origin of the Korean modern dance can be established only if it can meet the majority of concepts suggested by many writers on the space of Korea. and the subjects and the early modern dance all of which are special to Korean traditional dances. It is noted, however, that Suk Jung Mak became a turning point and resource of the Korean modem dance by helping Choi, Seung-hi and Jo, Taek-won whom opened its first chapter. But, reviewing the early modem dances in Korea from the liberation to 1960 revealed the fact that they have nothing so much to do with a Suk Jung Mak's Style of creative dances. Rather it seems that the expression ways through choi, Seung-hi and Jo, Taek-won who imitated Suk Tung Mak's styles had prescribed theearly modem dance until1 the 1960's. but the early modern dance appears not to have any ingenuity to analyze, disassemble, and reorganize out traditions with agony as much as it cied for "the modernization of ours". It does not mean that was deprived of our traditions. Taking into consideration of tradition as a proposition of Korean dance, they should be regarded as pioneers of the Korean modem dance. After the Korean war, however, the leading role of Korean dance has been given away to a new generation including Song, Bum, Kim, Baek-bong, and Lim, Sang-nam, and the concept ot the early modern dance which gradually became the concept of genre has been used only for the creation Korean tradition dance. The performance does not insist on a single genre but mixed ballet, modern dance, and traditional dance so that its expression does not much get out of the way the early modem dance had done. Its typical expressions are womanly lines, image delivery with atmosphere emphasized, and bright and impressive scenes. Seemingly, most of Korean dances have no practics for movement. Most dancers learned some styles of mcdern dances, ballets, and foreing traditional dances. But, the stage design, dancer's position arrangement in group dancing, and other characteristics in dance as a total art like lighting, music, costumes, and stage apparatus seem to be borrowed from the field of ballet. The early modem dance is lack of developing movement but has decoration to highlighten the stage effect and a dramatic subject which leaves a strong impression upon audience, which have been still seen in Korean dances by the 1970's. As said above, the early Korean modern dance have been succeeded from Choi, Sang-hi and Jo, Taek-won to Song, Bum and kim, Baek-bong to be used as a concept of genere, Because it had not been reviewed in terms of movement and the spirt-aestheticism which is the base of the former, our early mcdern dance dance came to be short of expression methods. It was only possible to creat the movement elements of Korean dance when fundamental studies began on the tradition generally in the late 1970's. The Key point of problems in the Korean dance seems to be the lack of scientific approoach to movement elements, which can be said a dance language. As it is said that the contempory creation is related with tradition, present experiments for movements should be established as a tradition for further creation. The study on the early modern dance in the historical viewpoint can be said a way to get a guide post for such a great stream in the dance history.
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