17-18세기 유럽 바로크 댄스와 생물역학이 몸 움직임을 표현하기 위해 사용한 어법(語法)간 상호연관성이 드러내는 사상적 배경에 관한 고찰 (Ideological Background Indicated by Language and Expression for Explaining Body Movement in Baroque Dance Literature and a Biomechanics Research in 17-18 Century Europe)

서지정보

· 발행기관 : 한국무용예술학회
· 수록지 정보 : 무용예술학연구 / 34권 / 34호 / 29 ~ 60페이지
· 저자명 : Kim Sue In

초록

This study aims to identify common modes of expression shared by French Baroque dance masters and a scientist in biomechanics developed in early modern Europe. Building on my previous research on Cartesian concepts of body and Baroque dance, I focus on how the abstract concepts were applied to actual studies of body movement in practice. In particular, the birth of biomechanics as a field of study in the seventeenth century signifies that a new scientific approach to a study of body movement were emerging.
To provide an analysis of concrete examples, I select Raoul Feuillet’s Choregraphie (1700) and Pierre Rameau’s Maître â Danser (1725) for two representatives of Baroque dance literature that reveal mechanical natural philosophy of Descartes. Also, Giovanni Borelli’s De Motu Animalium (1680), being the founding work of the field, presents an excellent example of a study of body movement applying principles of physics and mechanics.
These treatises share characteristics as follows. First, they express the body as an inert object deprived of agency. The dance masters’ narrative use the word body(le corps) as objectives of actions; Borelli straight forwardly asserts that the body is an inert machine like a dead body. They designate the body, particularity in terms of joints and their tension and extension. Also, their focus on equilibrium and weight support implies their understanding of the body as object with mass. Second, they rely on geometry to convert body movement into abstract concepts. The dance treatises as well as De Motu Animalium emphasize line, angle, and figure to perceive body posture and movement. Moreover, the treatises meticulous mark the body and space with alphabet letters which represent the objects stripped of any contextual significance. The similarity of modes of expression shared by dance masters and Borelli helps to recognize underlying premises of the dance practice as a peculiar tendency closely related to the academic atmosphere of the time period.

영어초록

This study aims to identify common modes of expression shared by French Baroque dance masters and a scientist in biomechanics developed in early modern Europe. Building on my previous research on Cartesian concepts of body and Baroque dance, I focus on how the abstract concepts were applied to actual studies of body movement in practice. In particular, the birth of biomechanics as a field of study in the seventeenth century signifies that a new scientific approach to a study of body movement were emerging.
To provide an analysis of concrete examples, I select Raoul Feuillet’s Choregraphie (1700) and Pierre Rameau’s Maître â Danser (1725) for two representatives of Baroque dance literature that reveal mechanical natural philosophy of Descartes. Also, Giovanni Borelli’s De Motu Animalium (1680), being the founding work of the field, presents an excellent example of a study of body movement applying principles of physics and mechanics.
These treatises share characteristics as follows. First, they express the body as an inert object deprived of agency. The dance masters’ narrative use the word body(le corps) as objectives of actions; Borelli straight forwardly asserts that the body is an inert machine like a dead body. They designate the body, particularity in terms of joints and their tension and extension. Also, their focus on equilibrium and weight support implies their understanding of the body as object with mass. Second, they rely on geometry to convert body movement into abstract concepts. The dance treatises as well as De Motu Animalium emphasize line, angle, and figure to perceive body posture and movement. Moreover, the treatises meticulous mark the body and space with alphabet letters which represent the objects stripped of any contextual significance. The similarity of modes of expression shared by dance masters and Borelli helps to recognize underlying premises of the dance practice as a peculiar tendency closely related to the academic atmosphere of the time period.

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