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독일 탄츠테아터(Tanztheater)의 현대공연예술적 특징과 한국적 수용 연구 (A Study on the Characteristics of Tanztheater as Contemporary Performance and its Reception of korean modern Theater since 1990s)

31 페이지
기타파일
최초등록일 2025.07.14 최종저작일 2008.08
탄츠테아터(Tanztheater) 신체(body) 분절된 일상적 동작(splited daily motion) 몽타쥬 구성(montage formation)
31P 미리보기
독일 탄츠테아터(Tanztheater)의 현대공연예술적 특징과 한국적 수용 연구
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    서지정보

    · 발행기관 : 한국연극학회
    · 수록지 정보 : 한국연극학 / 35호 / 183 ~ 213페이지
    · 저자명 : 김기란

    초록

    This paper will research the characteristics of tanztheater as contemporary performance and its reception in korean modern theater in 1990s. Tanztheater from Germany introduced to Korea in 1979 first, but its general popularity has begun since Pina Bausch performed her work <Carnations> in LG Art Center in 2000. Since then, the wonderful tanztheater works from Pina Bausch and her successor Sasha Waltz has been performed several times in Seoul. Especially Sasha Waltz's work <Body> attracted interest in the point of the choreographie concentrated on the inquiry of human body, which has been noticed in contemporary performance in 1960s.
    Tanztheater appeared in the german modern dance has extended the possibility of expression with theatrical elements, which was also accepted as postmodern dance characteristics. There were many studies on tanztheater which dealed with tanztheater in the side of postmodern dance. The concept of postmodern dance is difficult to define, however, it is said that the postmodern dance has been kept itself alive till the latter half of the 20th century and even the 21st century. From this point of view, we can take both the postmodern dance and the tanztheater for contemporary performance art seeking the new approach of communication between the stage and the audience. Eventually, tanztheater as postmodern dance can be regarded as the challenge to the new artistic movement and provocation to the conventional hierarchy of the dance and Theater. This study aims to develop an characteristics of tanztheater focused on theater.
    Tanztheater as postmodern dance won the some outstanding characteristics in detail like this ; at first, tanztheater is concentrated on not the artistic skills but daily actions and motions which were the basic material for the tanztheater. Secondly the performer in tanztheater should play three roles, that is, actor of drama, dancer, and singer. On the third, tanztheater was eager to use the popular materials, for example, popsong, Vaudeville, and Revue.
    On the other hand, to explain it to focus on theater, tanztheater is concentrated on not the actor and their actions but the 'body' of actor and their motions. In tanztheater the story based on cause and effect was disappeared. In return for, daily motions such as coming and going and walking the street, actions splited into several details and presented slowly, montage formation in the scene with distortion of time, and writing/reading on actor's body were presented on stage. The characteristics are some of the strategies of postdramatic theater prescribed from Hans-Thies Lehmann and hold the strategies of 'retheatralization' in the contemporary performance in common.
    This paper applies this some characteristics of tanztheater to the korean modern theater since 1990s, especially, <Kim Heun Tak's San-Bul> from Cha Bum Suk(차범석) directed Kim Heun Tak and <Transformation> from Kafka directed Kang Reang Won. The two works were theatralized with well-known original dramatexts, but they could not be found in the stage, and they were shown as new recreated theaters. The original dramatexts were splited into strange scenes and melted into the actor's motions, which showed interesting experimental approches and the possibilities of contemporary performance, that is, the direct experiences with genuine human body and its living emotional communication.
    The possibilities of tanztheater as contemporary performance can be found much more in the cultural situation of mediatized communications, which have increasingly demanded genuine human contact only granted to the performance.

    영어초록

    This paper will research the characteristics of tanztheater as contemporary performance and its reception in korean modern theater in 1990s. Tanztheater from Germany introduced to Korea in 1979 first, but its general popularity has begun since Pina Bausch performed her work <Carnations> in LG Art Center in 2000. Since then, the wonderful tanztheater works from Pina Bausch and her successor Sasha Waltz has been performed several times in Seoul. Especially Sasha Waltz's work <Body> attracted interest in the point of the choreographie concentrated on the inquiry of human body, which has been noticed in contemporary performance in 1960s.
    Tanztheater appeared in the german modern dance has extended the possibility of expression with theatrical elements, which was also accepted as postmodern dance characteristics. There were many studies on tanztheater which dealed with tanztheater in the side of postmodern dance. The concept of postmodern dance is difficult to define, however, it is said that the postmodern dance has been kept itself alive till the latter half of the 20th century and even the 21st century. From this point of view, we can take both the postmodern dance and the tanztheater for contemporary performance art seeking the new approach of communication between the stage and the audience. Eventually, tanztheater as postmodern dance can be regarded as the challenge to the new artistic movement and provocation to the conventional hierarchy of the dance and Theater. This study aims to develop an characteristics of tanztheater focused on theater.
    Tanztheater as postmodern dance won the some outstanding characteristics in detail like this ; at first, tanztheater is concentrated on not the artistic skills but daily actions and motions which were the basic material for the tanztheater. Secondly the performer in tanztheater should play three roles, that is, actor of drama, dancer, and singer. On the third, tanztheater was eager to use the popular materials, for example, popsong, Vaudeville, and Revue.
    On the other hand, to explain it to focus on theater, tanztheater is concentrated on not the actor and their actions but the 'body' of actor and their motions. In tanztheater the story based on cause and effect was disappeared. In return for, daily motions such as coming and going and walking the street, actions splited into several details and presented slowly, montage formation in the scene with distortion of time, and writing/reading on actor's body were presented on stage. The characteristics are some of the strategies of postdramatic theater prescribed from Hans-Thies Lehmann and hold the strategies of 'retheatralization' in the contemporary performance in common.
    This paper applies this some characteristics of tanztheater to the korean modern theater since 1990s, especially, <Kim Heun Tak's San-Bul> from Cha Bum Suk(차범석) directed Kim Heun Tak and <Transformation> from Kafka directed Kang Reang Won. The two works were theatralized with well-known original dramatexts, but they could not be found in the stage, and they were shown as new recreated theaters. The original dramatexts were splited into strange scenes and melted into the actor's motions, which showed interesting experimental approches and the possibilities of contemporary performance, that is, the direct experiences with genuine human body and its living emotional communication.
    The possibilities of tanztheater as contemporary performance can be found much more in the cultural situation of mediatized communications, which have increasingly demanded genuine human contact only granted to the performance.

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