『노자』의 ‘자연’과 춤미학과의 상관성 연구-원(圓), 유(柔), 허(虛)의 춤을 중심으로 - (A Study on the Correlation between the View of ‘Nature’ presented by Lao-tzu and the Aesthetics of Dance - On the Jinju Gyobang Gudgeori chum of Kim Suak -)

서지정보

· 발행기관 : 한국무용예술학회
· 수록지 정보 : 무용예술학연구 / 47권 / 2호 / 103 ~ 135페이지
· 저자명 : 손인영

초록

This thesis aims to study the correlation between Lao-tzu’s view of nature andthe aesthetic consciousness of Korean dance and hence to look at how an idea isexpressed in the aesthetic consciousness of dance in Korea. Lao-tzu’s naturalism isdeeply rooted in the basic culture of Korean people. Lao-tzu’s philosophy iswidespread in both the culture and art of Korea, and ‘natural beauty’ is an essentialconcept that cannot be forgotten in a discussion about the beauty of Korea. ‘Naturalbeauty’ is one of the most frequently discussed aesthetic concepts and constitutesan essential part of Korean dance.
The meaning of ‘Nature’, which constitutes an important part of thephilosophy of Lao-tzu, is looked at in 3 ways. First, the circularity of nature, whichbegins from birth and ends with death. Second, the naturality of nature, whichdoesn’t require any artificiality. Third, the curative power of nature, which enablesnatural healing in emptiness. This thesis looks at how the naturalism of Lao-tzu isrealized and expressed in the life and the dance of master dancer Kim Suak.
Through this study, it was found that, even though Kim Suak didn’t fullyunderstand the philosophy of Lao-tzu, she had the moves of a master dancer whois attuned to the philosophy of ‘Tao’ based on her inherited and internalized talentsfor the sound and dance of ancient times.
In the following part, how the philosophy of Lao-tzu is reflected in Koreandance is looked into under the categories of: the dance of circularity, the dance ofsoftness, and the dance of emptiness.
1. Dance of Circularity: The thesis finds that the moves and the structure ofKorean dance show that the circularity of dance with curves is widespreadAbstractin Korean dance, and that the true values of the circularity are best reflectedin the ‘hwi-young-cheong (glorious)’ dance or the ‘hol-mok (wrist)’ dance ofJinju Gyobang Gudgeori chum of Kim Suak.
2. Dance of Softness: The thesis finds that dance with soft moves reminiscentof willow trees swaying in the wind is possible only from time and years ofexperience, and that the composure enabled by the richness andaccumulation of time can make the dance special. The Jinju GyobangGudgeori chum of Kim Suak has many lines that flow like water and has asoftness which appears as though she is dancing in a vacuum.
3. Dance of Emptiness: The thesis finds that the slow and relaxing Gudgeorimusic and Korean traditional dance which naturally accompany the pace ofbreathing have an effect of art therapy. The Gudgeori chum of master dancerKim Suak is relaxing, romantic and exciting, especially when performed ina quiet pavilion while looking down on the wide ocean with arms wide openand making a smooth turn. Therefore, the dance of Kim Suak was found togive much joy to and have a curative effect on the body and mind of boththe dancer and the audience.

영어초록

This thesis aims to study the correlation between Lao-tzu’s view of nature andthe aesthetic consciousness of Korean dance and hence to look at how an idea isexpressed in the aesthetic consciousness of dance in Korea. Lao-tzu’s naturalism isdeeply rooted in the basic culture of Korean people. Lao-tzu’s philosophy iswidespread in both the culture and art of Korea, and ‘natural beauty’ is an essentialconcept that cannot be forgotten in a discussion about the beauty of Korea. ‘Naturalbeauty’ is one of the most frequently discussed aesthetic concepts and constitutesan essential part of Korean dance.
The meaning of ‘Nature’, which constitutes an important part of thephilosophy of Lao-tzu, is looked at in 3 ways. First, the circularity of nature, whichbegins from birth and ends with death. Second, the naturality of nature, whichdoesn’t require any artificiality. Third, the curative power of nature, which enablesnatural healing in emptiness. This thesis looks at how the naturalism of Lao-tzu isrealized and expressed in the life and the dance of master dancer Kim Suak.
Through this study, it was found that, even though Kim Suak didn’t fullyunderstand the philosophy of Lao-tzu, she had the moves of a master dancer whois attuned to the philosophy of ‘Tao’ based on her inherited and internalized talentsfor the sound and dance of ancient times.
In the following part, how the philosophy of Lao-tzu is reflected in Koreandance is looked into under the categories of: the dance of circularity, the dance ofsoftness, and the dance of emptiness.
1. Dance of Circularity: The thesis finds that the moves and the structure ofKorean dance show that the circularity of dance with curves is widespreadAbstractin Korean dance, and that the true values of the circularity are best reflectedin the ‘hwi-young-cheong (glorious)’ dance or the ‘hol-mok (wrist)’ dance ofJinju Gyobang Gudgeori chum of Kim Suak.
2. Dance of Softness: The thesis finds that dance with soft moves reminiscentof willow trees swaying in the wind is possible only from time and years ofexperience, and that the composure enabled by the richness andaccumulation of time can make the dance special. The Jinju GyobangGudgeori chum of Kim Suak has many lines that flow like water and has asoftness which appears as though she is dancing in a vacuum.
3. Dance of Emptiness: The thesis finds that the slow and relaxing Gudgeorimusic and Korean traditional dance which naturally accompany the pace ofbreathing have an effect of art therapy. The Gudgeori chum of master dancerKim Suak is relaxing, romantic and exciting, especially when performed ina quiet pavilion while looking down on the wide ocean with arms wide openand making a smooth turn. Therefore, the dance of Kim Suak was found togive much joy to and have a curative effect on the body and mind of boththe dancer and the audience.

참고자료

· 없음