테오필 고티에와 앙드레 레벵송의 비평관점 비교연구 (A Comparative Study on Critical Views of Théophile Gautier and André Levenson)

서지정보

· 발행기관 : 한국무용예술학회
· 수록지 정보 : 무용예술학연구 / 24권 / 24호 / 57 ~ 83페이지
· 저자명 : 문애령

초록

Critiques must encompass a structured criterion followed by logical evaluation in order to satisfy the readers. For example, intrinsic critics concentrate on the formal properties of the art object itself. Extrinsic critics, by contrast, argue that information about the work’'s sources, the life of its creator.
The objective of this study is centered on exhibiting the specific characteristics of Théophile Gautier’'s and André Levenson’'s dance critique. Théophile Gautier was the world’'s first professional dance critique during the periods between 1830s - 1870s. André Levenson’'s vividly descriptive pieces reveal a consistent theory of beauty and meaning in dance in the highly varied dance scene of Paris in the 1920s.
As he passed the beginning stages of critiques, Gautier transformed his perceptions toward accepting the ‘'école parnassienne’' aestheticism rather than focusing on the romanticism. In his critics, ‘'Fanny Elssler in “"La Tempête”"’' and ‘'Revival of “"La Sylphide”"’', Gautier was an idealist who evaluated the physical characteristics of ballerinas on a hermaphrodical standard and perceived the imagery of dancing greek sculptures as the supreme form of ballet. Regardless, he always positioned himself as an aestheticist, a fervent admirer of “"Art for Art”.
André Levenson was described as a critic who had the “ower of translating the dance into words. In his critic, ‘he Art and Meaning of Isadora Duncan’ Levenson emphasizes the mimetic and figurative nature of Duncan’ dances. He credits her with having created a new beauty, but he argues that the sources of this beauty are not to be found, as is commonly believed, in antiquity. Rather, Duncan generates an aura that owes more to the English Pre-Raphaelite artists than to those of ancient Greece.
In conclusion, Gautier was a nineteenth-century Pagan, Levenson was one of the few dance writers who deserves to be called a ‘cholar-journalist.’

영어초록

Critiques must encompass a structured criterion followed by logical evaluation in order to satisfy the readers. For example, intrinsic critics concentrate on the formal properties of the art object itself. Extrinsic critics, by contrast, argue that information about the work’'s sources, the life of its creator.
The objective of this study is centered on exhibiting the specific characteristics of Théophile Gautier’'s and André Levenson’'s dance critique. Théophile Gautier was the world’'s first professional dance critique during the periods between 1830s - 1870s. André Levenson’'s vividly descriptive pieces reveal a consistent theory of beauty and meaning in dance in the highly varied dance scene of Paris in the 1920s.
As he passed the beginning stages of critiques, Gautier transformed his perceptions toward accepting the ‘'école parnassienne’' aestheticism rather than focusing on the romanticism. In his critics, ‘'Fanny Elssler in “"La Tempête”"’' and ‘'Revival of “"La Sylphide”"’', Gautier was an idealist who evaluated the physical characteristics of ballerinas on a hermaphrodical standard and perceived the imagery of dancing greek sculptures as the supreme form of ballet. Regardless, he always positioned himself as an aestheticist, a fervent admirer of “"Art for Art”.
André Levenson was described as a critic who had the “ower of translating the dance into words. In his critic, ‘he Art and Meaning of Isadora Duncan’ Levenson emphasizes the mimetic and figurative nature of Duncan’ dances. He credits her with having created a new beauty, but he argues that the sources of this beauty are not to be found, as is commonly believed, in antiquity. Rather, Duncan generates an aura that owes more to the English Pre-Raphaelite artists than to those of ancient Greece.
In conclusion, Gautier was a nineteenth-century Pagan, Levenson was one of the few dance writers who deserves to be called a ‘cholar-journalist.’

참고자료

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