한국新舞庸의 사적위상에 대한一고찰

Abstract

This thesis, as a theoretical study based on the academic information, was made on the basis of previous study about the conception of new dance through investing charges of dame during the time between 1905 and 1979 when is considered the new period of Korean dance, and was analysed in the view of significance that the new Korean dance, which is classified according to the period, had influenced on the history of the dance with explanations about the contents of the dance and affairs happened in that particular period of the time. The new Korean dance can be defined as the dance which was creatively formed on the basis of the traditional Korean dance keeking abreast with current affairs the pattern of the stage. The following is the result of a study according the periodical classification. The first period (1905-1925) - the inceptive time of the new Korean dance; This period of tire paved the way for the traditional Korean dance to be today's Theatre dance by being performed at the stage, and furthermore motivated the public to realise highly the Korean dance as an art, The second period (1926-1945) - the growing titre of the neW Korean dance: 'The New Dance' was performed done by 石井 漢 Japanese, from March 21 to 23, 1926 at the Kyoung-Sung public Mall. This performance encouraged CHOI Sung-Hee and JO TAEK-WON to join the modern dance. The creating of traditional Korean dance was attempted for the first time and, as result of that, efforts for the theatre performance to be one part of the art were being made actively, introducing the Korean dance to the world. However, there were not a few things left to be more desired in the way creating of Korean dance. The third pried (1946-1953) - the chaotic time of the new Korean dance: Faced with the 8.15 Liberation from Japan in 1945 and the 6.25 Civil War between South and North in 1950, activities of Korean dance was recessed for the time being. The forth period (1954-1970's) - the recessive time of the new Korean dance; After the 5.16 Revolution, thanks to the realising of importance of the study about Korean and the cultural movement, active researches and studies were done to develop more the beauty of Korea in many aspects. And Dancers, who graduated from every University or College, officially started to make the traditional Korean dance more academic and more systematic. "The 1979 Korean Dance Festival "has been held newly with giving birth to a new genre in the creation of the Korean dance. In the meantime, by forming professional dance groups, group performances was so popular. In addition, the introduction of ballet and the composing of Theatre performances, which put emphasis on the beauty of formality, seemed to tarnish the creativity boomed in the inceptive time. For the reason of that this particular period is regarded as the golden age time.;본 연구논문은 오늘날 전통무용 시대에서 창작무용시대를 이어주었던 한국 신무용에 대한 연구이다. 한국 신무용 시대의 흐름을 연구하여 무용사적 의미를 밝히고자 하는 데 그 목적이 있다. 연구 절차는 먼저 무용사적으로 신무용기라고 할 수 있는 1905년부터 1970년대말 까지를 4기로 나누어 무용계의 동향을 살펴보았다. 일제의 지배하에 있던 한국은 한국 전통무용이 극장춤으로 진출하여 당시의 무용인들에 대한 인식이 격상되었다. 1926년을 기점으로 일본인 이시이 바꾸(石井漠)의 내한으로 인하여 한국은 서구 근대무용과 신흥무용을 점하게 되었으며 곧이어 최승희ㆍ조택원과 같은 세계적인 무용가가 나타나게 된다. 해방이 되고 6ㆍ25를 거치면서 한국 무용계는 한국학의 대두와 주체성 찾기, 문화운동 등으로 인하여 한국미의 연구가 활성화되었고 1970년대를 기점으로 하여 각 대학에서 배출되는 무용인들이 한국 전통무용을 학문적으로 체계화시키기 시작하였으며 직업무용단이 창설되고 1979년 대한민국 무용제가 개최됨으로써 한국창작무용의 새 쟝르가 생겨나기 시작했다. 근대화 시기인 신무용기의 커다란 성과는 1905년을 전후하여부터 전통무용이 극장식 무대에 오름으로 해서 전문예술가로서의 무용가像이 발생하였으며 또한 근대적 예술형태를 지양하였고 그 후 무용인들의 사회적 위치가 향상된 점이다. 그러나 극장춤의 지양은 오늘날 군무중심의 작품성향으로 인하여 지나친 형식미를 추구하였고 더욱이 서구의 현대무용에 내재된 저항의식과 전위적인 성격을 되살리지 못한 채 오늘날까지 지속되고 있는 점은 반성되어야 할 부분이다. 여하튼 신무용은 일과정적 춤현상이 아니라 오늘의 우리춤을 일정부분 규정한 춤사조로써 신무용기는 전통무용 시대에서 창작춤 시대로 연결하는 중요한 시기라 본다.