장자사상의 ‘유遊’로 본 진도북춤의 심미구조 분석- 무보舞步를 中心으로 - (Analysis of the aesthetic structure of JINDO-DRUM-DANCE of ‘strolling’ from the perspective of Chuangtzu's idea -focusing on the mubo-)

서지정보

· 발행기관 : 한국무용교육학회
· 수록지 정보 : 한국무용교육학회지 / 28권 / 1호 / 117 ~ 135페이지
· 저자명 : 이용희

초록

This thesis, on the basis of the spirituality of Chuangtzu's ‘strolling’, analyzes the aesthetic structure focusing on the aesthetic consciousness which Park Byung- Cheon‘s style Jindo-Drum-Dance freely gets joined in good harmony on the stage, a expressing space showing musical temporality and artistic spatiality.
The rhythm of the drum and the dancing motion that can be freely communicated through the dancer's mental border are kept in the united state only in Jindo- Drum-Dance, so all of the movements and expressions can be deemed as similar to the context of Chuangtzu's idea, ‘strolling’. Thus, from the view of ‘strolling’, the stage structure where the dancing motion proceeds according to the fracture was drawn as Mubo's picture which Jindo-Drum-Dance is being played on the real stage.
The result of analyzing the stage structure of Jindo-Drum-Dance to the fractures is as follows; first, Jindo-Drum-Dance is expressed by dancing motions, and in the line of flow, just as the principle of circulation and the principles of Yin and Yang combine with each other, circle and the Great Absolute, and curve and straight lines achieve harmony, so it can be seen as manifesting the state of the spirit of freely ‘strolling’.
Second, because Jindo-Drum-Dance is distributed in many directions including front and rear, right and left, up and down and so on in the use of the space of stage through dancing motions and rhythms according to the fracture, it can be regarded as an art which fits the ‘strolling’, which is a freely playing state of mind that does not get concerned with any changes.
Third, the stage structure that is given according to the dance speed, the movement size, the position depending on sight, direction, weight sensation and so on can be deemed as a structure that can freely roam through time and space like the mind of ‘Moo-Bang'.
Fourth, because the spiral line or S-curved line that can be seen from Jindo- Drum-Dance shows the ascending aspect that accumulates power, it possesses the most dynamic power. From this context, Jindo-Drum-Dance is to seek the spiri- Abstract Analysis of the aesthetic structure of JINDO-DRUM-DANCE of ‘strolling’ from the perspective of Chuangtzu's idea -focusing on the mubo- 119 tuality of ‘strolling' which is the absolute state of ‘freedom and liberation' to transcend time and space as an aesthetic precondition of the fun of the dancer.
In this way, from the view of Chuangtzu's idea, ‘strolling’, the aesthetic structure that Jindo-Drum-Dance seeks is based on the aesthetic consciousness from the dancer's mental freedom. Through the discussion of the idea and aesthetic consciousness that is inherent in Jindo-Drum-Dance, it is expected to become a new occasion in the study of dance by practically used in the academic studies of Jindo-Drum-Dance.

영어초록

This thesis, on the basis of the spirituality of Chuangtzu's ‘strolling’, analyzes the aesthetic structure focusing on the aesthetic consciousness which Park Byung- Cheon‘s style Jindo-Drum-Dance freely gets joined in good harmony on the stage, a expressing space showing musical temporality and artistic spatiality.
The rhythm of the drum and the dancing motion that can be freely communicated through the dancer's mental border are kept in the united state only in Jindo- Drum-Dance, so all of the movements and expressions can be deemed as similar to the context of Chuangtzu's idea, ‘strolling’. Thus, from the view of ‘strolling’, the stage structure where the dancing motion proceeds according to the fracture was drawn as Mubo's picture which Jindo-Drum-Dance is being played on the real stage.
The result of analyzing the stage structure of Jindo-Drum-Dance to the fractures is as follows; first, Jindo-Drum-Dance is expressed by dancing motions, and in the line of flow, just as the principle of circulation and the principles of Yin and Yang combine with each other, circle and the Great Absolute, and curve and straight lines achieve harmony, so it can be seen as manifesting the state of the spirit of freely ‘strolling’.
Second, because Jindo-Drum-Dance is distributed in many directions including front and rear, right and left, up and down and so on in the use of the space of stage through dancing motions and rhythms according to the fracture, it can be regarded as an art which fits the ‘strolling’, which is a freely playing state of mind that does not get concerned with any changes.
Third, the stage structure that is given according to the dance speed, the movement size, the position depending on sight, direction, weight sensation and so on can be deemed as a structure that can freely roam through time and space like the mind of ‘Moo-Bang'.
Fourth, because the spiral line or S-curved line that can be seen from Jindo- Drum-Dance shows the ascending aspect that accumulates power, it possesses the most dynamic power. From this context, Jindo-Drum-Dance is to seek the spiri- Abstract Analysis of the aesthetic structure of JINDO-DRUM-DANCE of ‘strolling’ from the perspective of Chuangtzu's idea -focusing on the mubo- 119 tuality of ‘strolling' which is the absolute state of ‘freedom and liberation' to transcend time and space as an aesthetic precondition of the fun of the dancer.
In this way, from the view of Chuangtzu's idea, ‘strolling’, the aesthetic structure that Jindo-Drum-Dance seeks is based on the aesthetic consciousness from the dancer's mental freedom. Through the discussion of the idea and aesthetic consciousness that is inherent in Jindo-Drum-Dance, it is expected to become a new occasion in the study of dance by practically used in the academic studies of Jindo-Drum-Dance.

참고자료

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