피나바우쉬 탄츠테아터의 내러티브와 관객지각에 관한 소고 -작품 <카네이션(Nelken)>을 중심으로

• 영문명: A paper on the Narrative of Pina Bausch’s Dance Theater
• 발행기관: 한국문화예술교육학회
• 저자명: 김예숙(Kim, Ye Sook)
• 간행물 정보: 『모드니예술』제13호, 15~27쪽, 전체 13쪽
• 주제분류: 예술체육 > 무용
• 파일형태: PDF
• 발행일자: 2015.12.31

영문 초록

Pina Bausch’s Dance Theater explores itself as an art form using dancer’s body. Her work denies the signification of body, but have it as subject in formation and transformation of meaning. Along with the transformation of meaning, the referential function of the theater fades out and the presence of body takes place. In other words, dancer’s body is the content and form referring itself. Despite this phenomena, however, Bausch’s work still intend to tell something and there is narrative. This paper studies the techniques of Bausch’s narrative. Her work does not represent a text, but foregrounds the ‘process’ of creating meaning through communion of the choreographer and the dancers. The dancers’ daily gestures are performed on stage fragmented and repeated and the audience perceive or create the meaning of what is shown with their own experience. Through this process the narrative of each piece constructed in audience’s mind. In summary, the techniques of fragmentation and repetition were inevitable approach rather than arbitrary to form the ‘process’ of signification.

목차

Ⅰ. 서 론

Ⅱ. <카네이션>의 내러티브와 관객지각

1. 퍼포먼스의 전개

2. 표현을 위한 모티프들

3. 몸의 서사

4. 분절에 의한 내러티브

5. 반복에 의한 의미변형

Ⅲ. 결 론

키워드

Pina Bausch Dance Theater Postmodern Drama Narrative Signification Fragmentation Repetition 피나바우쉬 탄츠테아터 포스트모던 드라마 내러티브 의미작용 분절 반복