연극 공연의 감성학적 연구 - 괴르노트 뵈메(Gernot Böhme)의 감성학을 중심으로 (A Study on Theatre Aisthetik - Focusing on Gernot Böhme's Aisthetik)

서지정보

· 발행기관 : 한국연극교육학회
· 수록지 정보 : 연극교육연구 / 27권 / 27호 / 37 ~ 72페이지
· 저자명 : 김정섭

초록

This article focuses on two aspects. First, it introduces and examines Böhme's Aisthetik theory. Second, it defines an application plan for its integration into the aesthetics of the performing arts.
The first point is examinedin relation to four sub-topics. First, the study considers the appearance of Aisthetik as a new form of aesthetics in the 20th century. The driving forces  behind the appearance of Aisthetik were environmental problems, the aestheticization of daily life, and a new definition of the arts. Second, the study explains the perception of Aisthetik asa sense of bodily existence. Third, it evokes a general perception method that is not based on individual senses but on special perceptual functions. Fourth, it presents atmospheric perception as one of the basic ideas of the Aisthetik theory. The atmosphereis experienced through two kinds of affective senses. One is the presence of objects, and the other the unique presence of oneself.
The second part of the study focuses on the co-presence, materiality, and generation of meanings within the Aisthetik framework. Those are important terms in performative aesthetics studies and in Aisthetik. In particular, the study states that the perceptional process of spectators does not receive delivered meanings but generates its own.
The study of the Theatre Aisthetik in this article is based on the vision of performative aesthetics as animportant aesthetic discourse in the contemporary performing arts. This study shows that Theatre Aisthetik should be part of the development of the contemporary performing arts aesthetics. The paper hopes to encourage active discussions and a keen interest in the Theatre Aisthetik.

영어초록

This article focuses on two aspects. First, it introduces and examines Böhme's Aisthetik theory. Second, it defines an application plan for its integration into the aesthetics of the performing arts.
The first point is examinedin relation to four sub-topics. First, the study considers the appearance of Aisthetik as a new form of aesthetics in the 20th century. The driving forces  behind the appearance of Aisthetik were environmental problems, the aestheticization of daily life, and a new definition of the arts. Second, the study explains the perception of Aisthetik asa sense of bodily existence. Third, it evokes a general perception method that is not based on individual senses but on special perceptual functions. Fourth, it presents atmospheric perception as one of the basic ideas of the Aisthetik theory. The atmosphereis experienced through two kinds of affective senses. One is the presence of objects, and the other the unique presence of oneself.
The second part of the study focuses on the co-presence, materiality, and generation of meanings within the Aisthetik framework. Those are important terms in performative aesthetics studies and in Aisthetik. In particular, the study states that the perceptional process of spectators does not receive delivered meanings but generates its own.
The study of the Theatre Aisthetik in this article is based on the vision of performative aesthetics as animportant aesthetic discourse in the contemporary performing arts. This study shows that Theatre Aisthetik should be part of the development of the contemporary performing arts aesthetics. The paper hopes to encourage active discussions and a keen interest in the Theatre Aisthetik.

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