영화 속에서 춤이 갖는 몸 담론 -영화「그녀에게 Talk to Her」에서의 피나 바우쉬(Pina Bausch)의 춤을 중심으로- (Body Biscourse about Dance in Film -Focused on Pina Bausch’s Dance Seen in the Movie「 Talk to Her」-)

서지정보

· 발행기관 : 한국무용예술학회
· 수록지 정보 : 무용예술학연구 / 32권 / 32호 / 127 ~ 147페이지
· 저자명 : 정의숙, 변혁

초록

Focusing on the dance performance by Pina Bausch featured in Talk to her (2002) this paper analyzes the role of dance and how the movement or body language evolves into verbal language in the movie, from the viewpoint of Carl Gustav Jung’s Analytical psychology, especially by applying his concepts of collective unconscious, shadow, persona, anima and animus.
The analysis shows that Benigno, one of the main characters of the movie,represents the concept of shadow, as he transforms the female character Alicia’s unconscious body into conscious one. In addition, collective unconscious of people labelling Benigno’s act as offense corresponds to the concept of persona. Meanwhile, another female character Lydia’s body is matched with the concept anima, as her body remains unconscious, due to the collective unconscious of people. To sum up, collective unconscious makes Benigno and Lydia’s body unconscious, as two of them are, from the general public’s viewpoint, out of social category.
The dance performances Cafe Müller and Masurca Fogo in the movie acted as projections from which they implied or highlighted the two female characters’ bodies switching between consciousness and unconsciousness. By doing so, those two performances provided the movie with a psychological structure. Cafe Müller illustrated Pina Bausch’s memories of her youth with dreamlike, eyes-closed and weightless steps, while Masurca Fogo consisted of couple dancing and lifting movements, bringing with a bright and lively impression.
Unlike dance studies on Pina Bausch, this study considered how her dance performances provided psychological and symbolic foundations of the movie. It means that this study paved the way to see how differently the messages of PinaBausch’s choreograph could be interpreted and realized in other medium. In other words, this study provided a way to see her choreograph style (which contains her own notion) from different point of view, and it would make it able to see not only dance, but also the time’s characteristics, such as gender issue, social stratum, capitalism, ideology, and people’s notion from dance pieces. Also, taking human body as text, this study examined the piece of Pedro Almodovar Caballero, whose works consistently dealt with human body, from the viewpoint of movie as well as dance.

영어초록

Focusing on the dance performance by Pina Bausch featured in Talk to her (2002) this paper analyzes the role of dance and how the movement or body language evolves into verbal language in the movie, from the viewpoint of Carl Gustav Jung’s Analytical psychology, especially by applying his concepts of collective unconscious, shadow, persona, anima and animus.
The analysis shows that Benigno, one of the main characters of the movie,represents the concept of shadow, as he transforms the female character Alicia’s unconscious body into conscious one. In addition, collective unconscious of people labelling Benigno’s act as offense corresponds to the concept of persona. Meanwhile, another female character Lydia’s body is matched with the concept anima, as her body remains unconscious, due to the collective unconscious of people. To sum up, collective unconscious makes Benigno and Lydia’s body unconscious, as two of them are, from the general public’s viewpoint, out of social category.
The dance performances Cafe Müller and Masurca Fogo in the movie acted as projections from which they implied or highlighted the two female characters’ bodies switching between consciousness and unconsciousness. By doing so, those two performances provided the movie with a psychological structure. Cafe Müller illustrated Pina Bausch’s memories of her youth with dreamlike, eyes-closed and weightless steps, while Masurca Fogo consisted of couple dancing and lifting movements, bringing with a bright and lively impression.
Unlike dance studies on Pina Bausch, this study considered how her dance performances provided psychological and symbolic foundations of the movie. It means that this study paved the way to see how differently the messages of PinaBausch’s choreograph could be interpreted and realized in other medium. In other words, this study provided a way to see her choreograph style (which contains her own notion) from different point of view, and it would make it able to see not only dance, but also the time’s characteristics, such as gender issue, social stratum, capitalism, ideology, and people’s notion from dance pieces. Also, taking human body as text, this study examined the piece of Pedro Almodovar Caballero, whose works consistently dealt with human body, from the viewpoint of movie as well as dance.

참고자료

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