모리스 베자르(Maurice Béjart)의「볼레로(Bolero)」에서 표현된 성정체성 연구 - 남성의 몸 담론을 중심으로 - (A Study on the Sexual Identity Expressed in the「 Bolero」 of Maurice Béjart - Focusing on Body Discourse of Male -)

서지정보

· 발행기관 : 한국무용예술학회
· 수록지 정보 : 무용예술학연구 / 29권 / 29호 / 85 ~ 106페이지
· 저자명 : 정의숙, 김주희

초록

This study is purposed to mainly review the 「Bolero」of Maurice Béjart using the movement analysis method presented by Judith Lynne Hanna in order to examine how the sexuality immanent in the bodies of male dancers is formed and communicated and link the results with discourse about male bodies of today.
Based on the results, in the space of the 「Bolero」, the main male dancer dancing on the round table secured a masculine space and the surrounding male dancers moved in feminine spaces. In terms of time too, the results indicated that the main dancer secured masculine time likewise while surrounding male dancers began moving in feminine time. The styles of movements consisted of a mixture of male styles and female styles and gazes taken by the dancers were all masculine eyes. As for gestures, expressions can be said to be masculine while the characteristics of movements can be said to be feminine. Therefore, according to the analysis method of Hanna, 「Bolero」was shown to be an epicene dance with an appropriate mixture of masculine factors and feminine factors. And, when seen by the trichotomy of Francois Delsarte, the mouth openings of dancers or repeated hip joint movements appearing more frequently at the later part of the performance represented sexual expressions which doubled (increased) sexuality.
The bodies of male dancers showing the sexual and epicene movements of the 「Bolero」are in the same context as that of the directing technique currently shown in image media. The discourse about male bodies that are gradually created to have mixed sexuality and as ‘odies to be shown’expands to the social realm instead of the personal level of sexuality to reproduce male bodies as ‘ocial bodies’.

영어초록

This study is purposed to mainly review the 「Bolero」of Maurice Béjart using the movement analysis method presented by Judith Lynne Hanna in order to examine how the sexuality immanent in the bodies of male dancers is formed and communicated and link the results with discourse about male bodies of today.
Based on the results, in the space of the 「Bolero」, the main male dancer dancing on the round table secured a masculine space and the surrounding male dancers moved in feminine spaces. In terms of time too, the results indicated that the main dancer secured masculine time likewise while surrounding male dancers began moving in feminine time. The styles of movements consisted of a mixture of male styles and female styles and gazes taken by the dancers were all masculine eyes. As for gestures, expressions can be said to be masculine while the characteristics of movements can be said to be feminine. Therefore, according to the analysis method of Hanna, 「Bolero」was shown to be an epicene dance with an appropriate mixture of masculine factors and feminine factors. And, when seen by the trichotomy of Francois Delsarte, the mouth openings of dancers or repeated hip joint movements appearing more frequently at the later part of the performance represented sexual expressions which doubled (increased) sexuality.
The bodies of male dancers showing the sexual and epicene movements of the 「Bolero」are in the same context as that of the directing technique currently shown in image media. The discourse about male bodies that are gradually created to have mixed sexuality and as ‘odies to be shown’expands to the social realm instead of the personal level of sexuality to reproduce male bodies as ‘ocial bodies’.

참고자료

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