<내일을 여는 춤>과 <바리바리 촘촘 디딤새> 기획공연에 나타난 공연형태분석 (Anlayzing the Performance Type of & Performance)

서지정보

· 발행기관 : 한국무용연구학회
· 수록지 정보 : 한국무용연구 / 32권 / 2호 / 103 ~ 128페이지
· 저자명 : 박소현, 백현순

초록

본 연구는 소극장인 창무 포스트극장의 <내일을 여는 춤>과 별오름 극장의 <바리바리 촘촘 디딤새> 기획공연을 대상으로 최근 10년간(2004-2013) 그 소극장에서 기획공연 된 한국 창작춤 작품들의 공연형태를 분석하고자 한 것으로 결론은 다음과 같다. 첫째, <내일을 여는 춤>과 <바리바리 촘촘 디딤새> 기획공연에 차용된 한국 전통춤은 총 98작품이며, 그 중 살풀이춤이 20.4%로 가장 많았다. 둘째, 이 두 공연에서 차용된 한국 창작춤의 안무요소를 빈도 분석한 결과 한국 전통춤에서 차용된 안무요소는 총 175회인데 그 중 한국 전통춤의 상징적 요소(이미지, 정서, 사상)가 44.0%, 움직임 요소(동작, 호흡)가 20.0%, 소품이 14.3%로 나타났다. 셋째, 공연형태 분석을 통한 발전방안으로는 두 기획공연에서 시연된 한국 전통춤이 문화재로 지정된 춤에 치중되어 있음으로 문화재로 지정받지 못한 한국 전통춤까지 고르게 창작될 수 있도록 하는 것이 좋겠고, 또한 한국 전통춤에서 차용된 창작춤의 안무요소 중 상징적 요소와 움직임 요소, 소품사용 등 비율의 합이 78.3%로 과반수이상을 차지하는 것을 알 수 있었다. 이상의 기획공연은 지속적인 지원과 후원으로 일회성에 그치지 않고 연속성을 가지고 지속적으로 이루어져야 하고 아울러 안무자들은 기획공연의 의도에 맞는 창작춤을 안무하여 작품의 질을 높여야 할 것이다.

영어초록

The purpose of this study was to analyze the performance forms of Korean creation dance works played as the special performance at Changmu post theater(a small dance theater) and Byeolorum theater ( a small one in National Theater of Korea), from 2004 to 2013. The results were as follows:First, the number of Korean traditional dance employed for Korean creation dance in the special performances such as 'Dance opening tomorrow' at Changmu post theater and 'Baribatri chomchom didimsae' at Byeolorum theater is 98 altogether, with Sal-pu-ri dance accounting for 20.4%, the greatest, which mean that the emotion inherent in Sal-pu-ri dance corresponded with the Koreans to a great extent and that Sal-pu-ri dance was frequently being learned.
Second, according to the frequency analysis on choreography elements of Korean creation dance in the performance, in 'Dance opening tomorrow' and 'Baribatri chomchom didimsae' the choreography factors borrowed from Korean traditional dance were found to be used 175 times; with symbol(image, emotion, and idea) occupying 44%, movement (gesture and breathing) 20%, props 14.3%. As mentioned above, the reason why symbolic factors were most remarkable might be attributed to the fact that the symbolic aspect tend to showcase the feeling of dance and the message the choreographers involved were eager to convey.
Third, regarding development strategies by dint of analysis on performance types, it was highly recommended that Korean traditional dance not registered as cultural properties also be produced, considering that most of the Korean traditional dance displayed in the special performances. 'Dance opening tomorrow' and 'Baribatri chomchom didimsae' had been designated as cultural assets. It was also shown that the percentage of symbol, movement, and props of choreography components from Korean traditional dance accounted for 78.3%, which indicated that the choreographers were required to apply the diverse factors like space, setting and music in Korean traditional dance to creation dance and that planning of dance orientation considering the context should be made.
Last but not least, dance performance at the small theater was constantly to be implemented along with continued support and the choreographers who took part in the performance were supposed to produce the creation dance compatible with the intention of performance and improvement the quality of dance.

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