피나 바우쉬의 <봄의 제전>에 대한 정신분석적, 미학적 고찰: 충동, 몽타주, 언캐니, 아우라 개념을 중심으로 (A Psychoanalytic, Aesthetic Investigation of Pina Bausch’s The Rite of Spring: Drive, Montage, Uncanny and Aura)

서지정보

· 발행기관 : 한국비평이론학회
· 수록지 정보 : 비평과이론 / 16권 / 1호 / 51 ~ 82페이지
· 저자명 : 박선영

초록

This study analyzed Pina Bausch’s the Rite of Spring in theories of Freud, Lacan and Benjamin. Pina Bausch was credited for introducing a new form of modern dance called ‘Tanztheater.’ She was praised for her harmonization of German Expressionism and American Modern Dance. She expressed a conflict between human desire, psycho-social compulsions and restrictions. In this aspect, Bausch and her the Rite of Spring were regarded to take choreography to a new level. Her choreography well demonstrated primary impulse of human beings as well as death drive. The real, drive and impulse were expressed through montage/collage techniques in her works. The compulsive repetition of movement generated uncanny feeling and anxiety throughout a dance. Dance lifted the body to the das Ding and in this process, movement of the fragmented part-drive was repeated and then these pieces were combined to create a system of meaning. Her dance and choreography are similar to analytic setting. Pina Bausch sought epistemological grounds which can face ‘the end of analysis.’ Such distance making was associated with the creation of ‘new aura.’ Her dancing was a symbolized act and gave a structure and order to this chaotic world.

영어초록

This study analyzed Pina Bausch’s the Rite of Spring in theories of Freud, Lacan and Benjamin. Pina Bausch was credited for introducing a new form of modern dance called ‘Tanztheater.’ She was praised for her harmonization of German Expressionism and American Modern Dance. She expressed a conflict between human desire, psycho-social compulsions and restrictions. In this aspect, Bausch and her the Rite of Spring were regarded to take choreography to a new level. Her choreography well demonstrated primary impulse of human beings as well as death drive. The real, drive and impulse were expressed through montage/collage techniques in her works. The compulsive repetition of movement generated uncanny feeling and anxiety throughout a dance. Dance lifted the body to the das Ding and in this process, movement of the fragmented part-drive was repeated and then these pieces were combined to create a system of meaning. Her dance and choreography are similar to analytic setting. Pina Bausch sought epistemological grounds which can face ‘the end of analysis.’ Such distance making was associated with the creation of ‘new aura.’ Her dancing was a symbolized act and gave a structure and order to this chaotic world.

참고자료

· 없음