무대디자인과 무용 예술의 융합에 관한 연구

양뇌 전북대학교 일반대학원 2022 국내박사

Stage space creates good conditions for the optimal presentation of dance works. Creating stage space combined with dance works can effectively set off the stage atmosphere and make the audience easily understand the emotion and thought of dance works. Under the background of the development of the times and social changes. the design of stage space needs to keep pace with the times. coordinate with dance arts and use advanced design concepts and modern technical methods to make the performance of stage space more diversified and take the road of international development. In view of this firstly combined with the design composition theory of point line surface body and space this paper studies the method of organizing the stage space environment from the aspects of stage fulcrum area action trajectory time-space relationship and so on. Secondly starting from the micro this paper studies the independent attributes and use characteristics of functional elements such as stage set props materials and lighting analyzes their impact on the overall stage environment through the function and relative spatial relationship of each element, and finally achieves the effect of stage unification. Thirdly according to different stage arts forms and their spiritual connotation this paper studies the specific application of the law of formal beauty in stage design so as to form a unified environmental space with rhythm change and balanced scale enhance the expressiveness of stage arts and create an environmental atmosphere full of emotional value. Finally combined with the analysis of typical stage design examples and stage scheme design, this paper demonstrates the scientificity and rationality of stage organization methods and principles. Through the research of this subject it is concluded that when designing the contemporary stage the principle of design composition and the law of formal beauty should be integrated in time. The design thinking of using the composition of point line surface body and space can make the stage present a variety of levels effects atmosphere and space environment. In the design we should start from the part of the stage Only by fully understanding and mastering the characteristics and relationship of functional elements can we create a stage space more in line with the needs of the public as a whole. At the same time on the basis of following the law of formal beauty it can make the stage space show a particularly flexible and orderly environmental atmosphere and guide the designers to create a better stage space environment. Explore the integrated development path of stage art and dance arts in a three-dimensional and comprehensive way. Specifically the main significance of this paper is as follows: The first part is introduction. This chapter mainly summarizes the basic content of this research and explains the research background. research significance and methods. In addition this chapter also summarizes the content of relevant literature research at home and abroad which provides literature support for the smooth progress of this research. The second part is the research on the function of contemporary stage design and its structural elements. This chapter focuses on the study of the functions of contemporary stage design. Through the discussion of organizing stage space reflecting artistic environment and atmosphere expressing artistic emotion and significance and establishing the communication relationship between both parties. it shows that stage design has played an important role in artistic expression. The third part is the organizational skills of the elements of contemporary stage space structure. This chapter focuses on the organizational methods and skills of the elements of contemporary stage space structure and defines the basic style of stage arts. mainly including the characteristics of arts form arts theme and arts performance style. The fourth part is the research on the application of stage space structure elements of typical cases. By combining the classic cases of stage design such as dance drama and variety show this chapter is conducive to the overall grasp of the stage functional structure elements. regional division and spatial environment so that they can make better services for artistic performance and fully show the emotional connotation and spiritual value expressed by dance drama. The fifth part is an overview of the relationship between stage arts and dance arts. This chapter mainly focuses on the close relationship between dance and stage arts discusses in detail the important role of the application of stage comprehensive means in dance performance evaluates and analyzes the application of dance thinking in modern stage design and comprehensively discusses the application and development prospect of dance stage comprehensive means. The sixth part explores the rational integration path of stage arts and dance arts. Based on the development status of stage space arts this chapter deeply explores the integration mode of stage arts and dance arts. The seventh part is the research on the innovation path in stage arts and dance arts. This chapter puts forward corresponding countermeasures for the main problems of the prosperity and development of stage arts creation, focusing on the innovative development of stage arts and dance arts from the perspective of new media, the integrated development of stage arts and dance arts from the perspective of nationalization, and the mission of dance arts from the perspective of cultural confidence The development trend of dance arts integration from the perspective of multiculturalism is discussed in detail. The eighth part is the conclusion. This paper mainly reviews and summarizes the basic situation and content of this research and integrates the path of innovative development of the integration of stage arts and dance arts. In short, the development of Chinese dance is a dynamic process so the positioning of its development in this paper is also relatively static. The exploration of future development needs to make strategic adjustments in combination with the future development which requires the dancers' keen insight and accurate grasp of the wind direction of the times, which is a process of continuous exploration and progress. Chinese Dance "on the road".

Research on the Operation and Management Mechanism and Strategy of Chinese dance New Literature and Art Group

WU WEIFENG 가천대학교 일반대학원 2023 국내박사

The new Chinese dance art groups is an important part of the Literature and Art Groups with Chinese characteristics for a New Era. By Chinese characteristics, it means that the Art and Literature groups are divided into two categories by modes of operation: within or outside the public institution. Traditional art groups are within the public institution, they benefit from national financial allocations, their productions and lives are under unified management and deployment from government departments. The new Chinese dance art groups are developed by freelance art workers outside the public institution, representing a nascent culture ecology phenomenon. They are distinguished from traditional art groups by their popularization, contemporariness, independence, and innovativeness. Although these special groups exist individually, they are part of a larger collective of the society’s art and literature system. Their art work of various forms covers various industries, and their artistic activities extend to different spaces in society, including grassroots villages, communities and streets. The development of the groups is mainly operated by individuals or teams. As the groups’ operation and management is self-run and self-sustained, and managers are mostly dance professionals who lack professional knowledge, cultivation and ability for operation and management, many problems related to this aspect begin to appear such as product positioning, organization and management disorder, performance and production department insufficiency and lack of management talents etc. This study is therefore necessary as it aims to provide solutions to these problems. This study takes Chinese dance new art and literature groups as research object and thinks about their operation and management mechanism and strategy from multiple dimensions, angles and elements. It overlooks the development of Chinese dance new art groups nationwide, reviews their historical development and current situation of operation and management, analyzes their current problems and status of individual and group operation and management mechanisms based on representative cases in the capital, and focuses on their current development dilemma. The research summarizes the Chinese dance new art groups’ experience for development, proposes specific strategies for the operation and management of individuals, teams and communities, and explores management policies and implementation paths for the growth of Chinese dance new art groups for the New Era. The research is divided into six chapters: Chapter one is the introductory section. It mainly outlines the overall framework of the study, including research background, research content, research innovation points, research methodology and research significance. The introductory section provides the overall background and framework for the study of the mechanism and strategies for the operation and management of new art groups in Chinese dance. Chapter two is a theoretical overview of new art groups, operation and management, and management innovation. The basic concepts and characteristics of new art groups, theories related to operation and management, and theories related to management innovation are explained. Chapter three is about the development of Chinese dance new art groups and the current situation of the industry. The analysis in this chapter includes six aspects: the Chinese dance new art groups’ historical background, development context, industry status, industry groups, management status and development trend. From a historical perspective, the historical reasons for the formation and development of Chinese dance new art groups are explained, and their history of development is sorted out. From the perspective of space, it analyzes the current situation of the industry, the characteristics, current situation of management and development trend of individual and team operations in the industry. It tries to find the inner root of the development of Chinese dance new art groups and the crux of the current group operation and management problems. Chapter four is a case study of Chinese dance new art groups in China's capital city. This chapter studies active and typical new art groups in the capital city with Wang Ge as an individual case and Tao Body Theatre as a team case. The individual case is Wang Ge, who, as Vice President of the China Dance Artists Association, is the highest-ranking representative of the new dance art groups elected by the Chinese government. The team case is Tao Body Theatre, a dance company based on its successful overseas market expansion, box office rate and product recognition. By analyzing and organizing the artistic characteristics of the works of these typical cases, the operation mechanism and organizational structure of the individuals and teams, the internal and external factors affecting the development of the individuals and teams, and the Chinese government's policies on the management of individuals and teams of new dance art groups, combined with comparison with the problems and shortcomings of negative operation and management cases, this chapter focuses on specific problems to find out the operation and management rules of new dance art groups in the capital and provide detailed research basis for the proposal of specific strategies. Chapter five is about the construction of operation and management mechanisms and strategies for new dance art groups in China. This chapter explores implementable strategies for the further development of the operation and management mechanism of China's new dance art groups from individual, team, and community perspectives, and provides problem-solving ideas for operation and management of related individuals and teams as well as for community management on a national level. From the level of individual operation and management, it includes the rational use of individual resources; attracting high-quality talents and playing the role of organizational leadership; cultivating innovative talents and realizing talent echelon construction; strengthening policy support and promoting talent development; and improving talent incentive mechanism and strengthening political absorption. The strategic deployment aspect of team organization contains suggestions such as formulating development concept and clarifying development direction; respecting talent development and ensuring talent succession; broadening development channels and enhancing economic benefits; and innovating output of group content. The strategic management aspect of community operation contains community personnel management system; financial domination of community operation; internal management mechanism of group; improving external norms and efficiently avoiding risks, etc. Chapter six is the conclusion. It summarizes the core issues of the study and reflects on the limitations of the current research on the operation and management mechanisms and modes of new Chinese dance arts groups. It looks into the future development of new dance art groups in China. It explores effective ways for the balanced operation and management of new Chinese dance art groups, and to fully demonstrate the charm of Chinese dance art and culture. It aims to convey correct values and aesthetic enlightenment through dance-related art products, and show the long-standing culture and national spirit of Chinese nation to global culture. There is still room for improvement in the operation and management of new Chinese dance art groups. In order to avoid affecting the normal survival and value of the groups, it is necessary to update their management and operation concepts, promote modernization, and form a scientific and reasonable operation and management mechanism to maximize the real needs of the groups. A scientific and reasonable operation and management mechanism can guide individual goals to overall goals of the whole organization or community, turn numerous sub-forces to a unified direction of advancement, and help truly establish a united, intelligent and innovative professional team.

대학 교양무용 참여에 따른 회복탄력성 변화

박지원 국민대학교 일반대학원 2022 국내석사

This study was conducted to investigate changes in resilience according to participation in the university liberal arts dance program in order to reduce depression and stress among university students after the COVID-19 pandemic and return them to a state of normalcy, thereby to reduce the decline in the university-age population. Thus, the purpose of this study was to determine whether participation in the university liberal arts dance program makes positive contribution to the increase in resilience among university students. This study elucidated the effect of participation in university liberal arts dance education, and thus has a theoretical value in that it can contribute to the consolidation of related theories and an application value in that it can contribute to improving the quality of university liberal arts dance education and leading to its revitalization. This study was conducted by setting a hypothesis that there will be differences in changes in resilience (self-regulation, interpersonal skills, and positivity) according to the type of a liberal arts dance program. The subjects of the study were 92 students in the liberal arts dance program (reading performing arts-dance, street promotion of performances, expression by body, and reading culture through dance) at K University in Seoul, Korea, in 2023, and changes in resilience were measured through pre- and post- experiments. As a measurement tool, the resilience scale that was originally developed by Woo-yeol Shin, Min-gyu Kim, and Ju-hwan Kim (2009) and modified and supplemented by Hyun-joo Kim (2015) and Sooyoung Song (2022) was used. To test the reliability of the scale, the data were analyzed by calculating Cronbach's coefficient. For comparative measurement between groups, a paired-samples t-test was conducted using the difference in pre- and post-experiment scores, and the following conclusions were drawn. First, the correlation analysis of changes in resilience from before to after participation in the liberal arts dance program showed that there was a statistical significance in the difference between the values of resilience before and after the liberal arts dance program. Second, investigation of changes in resilience by liberal arts dance program showed that the scores for resilience was higher after than before participation in the liberal arts dance program for reading performing arts and reading culture through dance while for street promotion for performances and expression by body, the scores were higher before than after the participation. However, there was no statistically significant difference between them. As for the difference in scores for sub-factors before and after participation in the liberal arts dance program, positivity was shown to be a statistically significant factor in the class of street promotion for performances, and not in other classes. In-depth interviews were conducted for each sub-factor of resilience to investigate the causes for the results. In the interviews, the most common response was that the physical time to achieve positive changes was considerably short, followed by the responses of the program helping them regain control of their emotions and anxiety, the importance of dance in communicating with others, and the program helping them recover from depression and think more optimistically. This suggests that resilience was positively changed by participation in the liberal arts dance program, and it can be an important class to promote resilience in university students. In conclusion, this study found no statistically significant difference in students' resilience before and after participation in the liberal arts dance program. The reason for this may be that the period of learning for the survey was shorter than one semester (10 sessions), which may have made it difficult to derive the effect of resilience through learning, and the number of the subjects might not be enough due to the low enrollment in liberal arts programs. Therefore, further research is needed to confirm the effect of learning through long-term application and to apply the program to a wide range of learners in a large number of universities, and it is expected that this study will advance the research on the relationship between resilience and satisfaction with university life through liberal arts dance. Keywords: Liberal arts dance, resilience, university liberal arts, university liberal arts dance 본 연구는 코로나바이러스감염증-19(COVID-19)의 대유행 이후 대학생들의 우울감과 스트레스를 줄이고 정상의 상태로 되돌려 대학 학령인구 감소 현상을 줄이고자 대학 교양무용 참여에 따른 회복탄력성 변화에 관한 연구를 진행하였다. 본 연구의 목적으로는 대학 교양무용 참여가 대학생들의 회복탄력성 증진에 긍정적 기여를 하는지 파악하는 데 목적을 두고 있다. 대학 교양무용교육의 참여 효과를 규명한 연구로써 관련 이론을 공고화하는데 기여할 수 있는 이론적 가치를 지니며, 대학 교양무용교육의 질적 수준을 제고하고, 활성화를 유도하는데 기여할 수 있다는 응용적가치를 지닌다. 본 연구는 교양무용 프로그램 유형에 따라 회복탄력성(자기조절능력, 대인관계능력, 긍정성) 변화에 차이가 있을 것이고 교양무용 프로그램 유형에 따라 회복탄력성(자기조절능력, 대인관계능력, 긍정성) 변화에 차이가 있을 것이라는 가설을 설정하여 진행하였다. 연구 대상은 2023년 현재 서울시 소재의 K대학교 교양무용(공연예술읽기-무용, 공연줍기, 몸으로 표현하기, 춤으로 문화읽기) 수강생 92명을 선정하여, 사전·사후검사를 통해 회복탄력성 변화를 측정하였다. 측정 도구는 신우열, 김민규, 김주환(2009)이 개발한 측정 도구를 김현주(2015), 송수영(2022)이 수정 및 보완한 회복탄력성 척도를 사용하였다. 측정 도구의 신뢰도를 검정하기 위하여 Cronbach's 계수를 산출하여 자료를 분석했다. 집단 간의 비교 측정을 위해 회복탄력성에 대한 사전·사후점수 차이를 활용하여 대응 표본 t-검정을 시행한 결과 다음과 같은 결론을 도출하였다. 첫째, 교양무용 참여 전·후 회복탄력성 변화에 대한 상관관계를 분석한 결과, 교양무용 참여로 인한 회복탄력성의 사전·사후 결괏값 사이에 통계적으로 유의미한 수치가 측정되었다. 둘째, 교양무용 프로그램별로 회복탄력성의 변화를 살펴본 결과, 회복탄력성에 대한 공연예술읽기-무용과 춤으로 문화읽기의 평균은 사전점수보다 사후점수가 높은 것으로 측정됐으며 공연줍기와 몸으로 표현하기는 사전점수가 사후점수보다 높게 측정됐고 통계적으로 유의한 차이가 없는 것으로 나타났다. 하위영역에 대한 프로그램별 사전·사후 차이는 공연줍기 수업에서 긍정성 요인이 통계적으로 유의미한 것으로 나타났으며 이외 과목에서는 유의미하지 않은 것으로 나타났다. 결과에 대해 원인을 탐색하고자 회복탄력성의 하위요인별로 심층 인터뷰를 진행하였다. 그 결과, 긍정적인 변화에 도달하기까지 물리적인 시간이 현저히 부족했다는 답변이 가장 많았고 교양무용을 통해 감정조절력, 불안한 감정들이 많이 가라앉음에 대한 응답과 타인과의 소통에서 춤의 중요성을 언급하는 응답, 우울감에서 벗어나 교양무용을 통해 심신 안정을 하게 되었고 낙천적으로 생각하게 되었다고 응답했다. 이는 교양무용 참여에 따라 회복탄력성이 긍정적으로 변화했으며 교양무용이 대학생들의 회복탄력성 증진에 있어 중요한 수업으로 작용할 수 있다고 사료된다. 결과적으로 본 연구에서 교양무용을 수강하기 전후 학생들의 회복탄력성이 통계적 유의미한 차이를 보이지 못했다. 그 이유로는 실시한 설문의 학습 기간이 한 학기가 안 되는 짧은 기간(10차시)으로 학습을 통한 회복탄력성의 효과를 도출하는 데 무리가 있었을 것으로 사료되며, 교양과목의 수강 인원 미달로 인한 연구 대상의 수도 충분치 않았기 때문이라고 사료된다. 그에 따라 장기적 적용을 통한 학습의 효과를 확인하는 연구와 많은 대학을 대상으로 다양한 학습자에게 적용하여 많은 수의 수강 대상을 선정한 추가 연구가 요구되며, 본 연구를 통해 교양무용을 통한 회복탄력성과 대학생활만족도 사이의 관계에 관한 연구가 발전됨을 기대하는 바이다.

중국 무용학원 경영에 관한 연구

이링염 전북대학교 일반대학원 2022 국내박사

Art is an integral part of human social life. Art is active in every aspect of human life, every little bit of our lives. Some people say that life is art, and art is life, which means that art is closely related to our social life and that it is reflected in every corner of our social activities. China's socio-economic development promotes the development of education throughout China. The state's investment in education policy and economy as a whole should be unprecedented in the development of society as a whole. Therefore, the society as a whole attaches importance to art education, the development of science and technology also provides a stage for the development of art. Currently, art education is consistently taught in compulsory education in Korea, and its position in compulsory education is steadily improving, and it has already been incorporated as a mandatory subject in the entrance examination and has long been an extra point. This is also one of the reasons why the culture and training of art education are continuously developing in society. Currently, important art education includes various forms such as art education, performing art education, dance art education, music art education, language art education, and comprehensive art education. Keywords: An educational institution for dance and arts, Dan ce education institution market, A dance education institution Management of dance education institutions, Marketing of dance education institutions

전통문화 콘텐츠를 활용한 공연예술의 발전방안 : 한국무용 중심으로

문지원 상명대학교 문화기술대학원 2018 국내석사

본 연구는 전통문화 콘텐츠를 활용한 공연예술 中 한국무용의 발전방안을 제시하기 위해 ‘류 무용단 (보무 - 춤을 알리다)’, ‘정동극장 (시즌 - 궁:장녹수전)’, 국립무용단 (향연)을 비교분석하여 각 무용공연의 특징을 살피고 개선점을 찾아 전통문화 콘텐츠를 활용한 공연예술의 발전방안을 제시하였으며, 본 연구의 목적은 전통문화 콘텐츠를 활용한 공연예술의 발전방안을 위한 기초자료를 제시하는데 있으며, 이를 위해 전통문화 콘텐츠를 활용한 한국무용 작품들을 선정하고 분석하여 이 시대에 걸 맞는 한국무용만의 전통적인 특색이 담긴 프로그램을 개발하고 발전방안에 대해 연구하였다. 또한, 사)보훈무용예술협회의‘2018 무담(舞談) - 춤 이야기 中 대통령상 수상자, 2018 당대(黨代)의 춤(이 시대의 춤)’ 기획을 통해 연관관계를 입증하고자 하였다. 이에 전통문화 콘텐츠를 활용한 공연예술의 발전방안을 위한 본 연구의 결과는 다음과 같다. 첫 번째, 전통문화를 보존·전승 시켜야함은 물론 문화적 수준에 맞게 재창조하고 발굴하는 등 끊임없는 노력을 기울여야 한다. 두 번째, 시대적인 트렌드에 맞게 단지 눈으로만 즐기는 공연이 아닌, 관객들이 체험하고, 함께 소통하는 등 적극적으로 교감할 수 있는 공연으로 다가가야 한다. 세 번째, 전통문화 콘텐츠와 다양한 문화상품과의 패키지 결합을 통하여 관객모집에 대한 노력을 기울여야 한다. 네 번째, 문화콘텐츠 창작인력을 육성하여 전통문화 콘텐츠를 활용한 수준 높은 작품을 기획해야 한다. 위의 결과가 전통문화 콘텐츠를 활용한 공연예술 발전 방안으로 해답이 될 수는 없다. 하지만 이번 연구를 통해 전통문화 콘텐츠를 활용한 공연예술 발전 방안으로 문화 정체성을 확립해 나가는 것이 중요하며, 한층 더 공연예술이 발전하는 계기가 마련되길 바란다. 이 연구는 다음과 같은 제약이 따른다. 현재 국내자료 중에 전통문화 콘텐츠에 관련된 선행연구가 미비하므로 결과를 일반화하기에는 어려움이 있으며, 또한 본 논문은 참고문헌들을 토대로 결과를 유추하고 예측하였기에 현실적으로 객관화 및 일반화 적용에는 다소 제한이 있다. 주제어 : 전통문화, 문화콘텐츠, 공연예술, 무용예술, 무용공연 This study is to compare the performances of three kinds of performances in order to develop Korean dance performances using traditional cultural contents. We looked at the characteristics of dance performances and found improvement points and suggested ways to develop performing arts using traditional cultural contents. The purpose of this study is to present basic data for the development of performing arts through traditional cultural contents. To do this, we selected and analyzed Korean dance works using traditional cultural contents, and developed a program with traditional characteristics of Korean dance that is suitable for this era and studied the development plan. Also, I tried to demonstrate the relationship through the performance of dance (dance of this age) performed by the Association of Veteran Performing Arts. The results of this study are as follows for the development plan of performing arts using traditional cultural contents. First, we must make efforts to preserve and transmit traditional culture as well as to recreate and discover it in accordance with cultural level. Second, it is not a performance that is enjoyed only by eyes, but the audience must approach the performance that can actively communicate such as experiencing and communicating with each other. Third, efforts should be made to recruit audiences by combining traditional cultural contents with various cultural products. Fourth, cultural contents creators should be fostered and high quality works using traditional cultural contents should be planned. The above results can not be a solution to the development of performing arts utilizing traditional cultural contents. However, through this study, it is important to establish cultural identity as a way of developing performing arts utilizing traditional cultural contents, and hopes that opportunity for the development of performing arts will be further developed. The above results can not be a solution to the development of performing arts utilizing traditional cultural contents. However, through this study, it is important to establish cultural identity as a way of developing performing arts utilizing traditional cultural contents, and hopes that opportunity for the development of performing arts will be further developed. This study has the following limitations. Currently, there are few previous studies related to traditional culture contents among domestic materials, so it is difficult to generalize the results. Since this paper deduces and predicts the results based on the reference documents, there are some limitations to the application of objectification and generalization in practice. Key words : Traditional culture, Culture contents, Performing arts, Dancing arts, Dance performance

Bodies, statues, and machines: Dance and the visual arts in France, 1900--1925 (Isadora Duncan, Emile-Antoine Bourdelle, Vaslav Nijinsky, Fernand Leger)

Kennel, Sarah Alexandra University of California, Berkeley 2003 해외박사(DDOD)

During the first three decades of the twentieth century, dance emerged as one of modernism's most striking achievements. Exploring the fluid exchange between artists and choreographers and between representations of the body and representations through the body, this dissertation argues that neoteric forms of dance practice furnished early twentieth-century artists with new modes of conceiving and expressing relationships between embodiment and image. Chapter One analyzes the ways in which Isadora Duncan manipulated the forms and associated meanings of classical art as a strategy to elevate the status of her choreographic practice and in so doing, offered a revitalized version of classicism at a moment when the classical tradition in the visual arts seemed to have lost its bearings. Chapter Two focuses on French sculptor Emile-Antoine Bourdelle, who based his designs for the sculpted decorative friezes on the exterior of the Theatre des Champs-Elysees in Paris after his drawings of Duncan. Tracing the complex passage from dance to drawing to sculpture, I argue that Bourdelle's engagement with Duncan's dance formed part of a broader attempt to create a viable art social in which the antinomies of public and private and classical and modern might be resolved. Chapters Three and Four examine the explosive combination of modernism and "primitivism" in Vaslav Nijinsky's choreography for Afternoon of a Faun (1912) and The Rite of Spring (1913). Situating the body between a pre-social atavism and a fragmented, automatistic modernity, Nijinsky's choreography simultaneously articulated the desire for---and the failure of---a deeply-held fantasy of returning to bodily and cultural origins via the dance. While both modern dance and its representations in the visual arts served as metaphors for the tenuous position of the individual in pre-war French culture, new forms of dance participated in a wider project of cultural reconstruction in interwar France. In this vein, chapter Five examines how Fernand Leger's representations of the body in his designs for the Ballets Suedois' Skating Rink (1922) articulated, in terms particular to the interwar period, the broader tensions between primitivism and mechanization which had haunted the corporeal imagination of early twentieth-century modernism.

무용예술 활성화를 위한 웹사이트 활용 방안 분석

이현옥 경희대학교 대학원 2002 국내석사

인터넷에 의하여 사회는 거의 모든 분야에서 영향을 받으며, 우리를 둘러싼 세상을 변화시키는 원동력이 되었다. 이러한 현상은 기술의 지속적인 발달과 인터넷 이용자의 증가 추세로 보았을 때, 더욱 가속화되리라고 본다. 결과적으로 무용의 분야에서도 인터넷의 영향을 받을 수 밖에 없으므로, 인터넷이 무용예술을 활성화시키는 한 수단으로 무용예술 분야에서의 활용에 대한 연구가 이루어져야 한다. 무용가와 무용단은 웹사이트를 통하여 자신과 자신의 춤을 알릴 수 있는 무용 수요자와의 새로운 매개체를 가지게 되었다. 그리고 무용가와 무용단 웹사이트의 활성화는 무용의 저변확대와 수요자의 증가로 이끌 수 있을 것이다. 본 연구자는 국내 무용가와 무용단 웹사이트의 실태를 분석함으로 아직 개선되고 있지 않는 문제점을 찾아 웹사이트 활용의 질적 향상 연구기반을 마련하며, 미국의 무용가·무용단 웹사이트를 연구함으로 현재 국내 웹사이트의 위치를 확인하여 웹사이트의 활성화 활용 방안을 분석하고, 이를 통하여 무용예술의 활성화를 추구하고자 하였다. 국내 무용가, 무용단 웹사이트와 미국 무용가, 무용단 웹사이트의 분석 결과를 요약하면 다음과 같다. 첫째, 웹사이트 접근 편리와 개방성으로 국내 무용가, 무용단 웹사이트 검색엔진 등록 상황은 라이코스, 다음, 야후에서 웹사이트 등록이 많으나 무용가, 무용단 웹사이트 중 64%- 74%만 검색엔진에 등록함으로 웹사이트의 검색엔진 등록 소홀이 있다. 무용가와 무용단 웹사이트 구축시 내용의 전달에만 집중하는 것이 아니라 웹사이트 구축 후 국내에서 이용되어지는 모든 검색엔진에 등록을 함으로 무용가와 무용단의 정보를 필요로 하는 이용자에게 쉽게 웹사이트의 접근을 가능하도록 하여야 할 것이다. 둘째, 선행연구의 무용가, 무용단 웹사이트 실태조사와 비교하여 현재까지 유지된 웹사이트의 연속성은 1999년에 조사된 웹사이트의 연속성보다 2000년도에 조사된 웹사이트의 연속성이 무용가, 무용단 웹사이트 모두 증가되었으나, 연속성이 각각 65.38%, 71.42%로 개설된 사이트 중 많은 사이트가 곧 폐쇄됨을 알 수 있다. 그러므로 웹사이트를 계속 유지시키기 위하여 웹사이트 구축자는 웹사이트의 관한 지속적인 관심과 활성화를 위한 노력이 필요하다. 셋째, 국내와 미국의 무용가, 무용단 웹사이트의 서비스 측면 웹사이트의 분석으로 정보제공, 편리성, 썅방향성 등으로 분석의 항목을 나누어 웹사이트를 분석하였다. 정보 제공의 측면에서 국내 무용가와 무용단 웹사이트는 공연 스케줄 소개와 공연 작품의 평론 기사, 외국어 지원 제공이 빈약하였다. 미국의 무용가와 무용단 웹사이트는 무용작품 동영상 자료, 무용학 자료, 외국어 지원이 빈약하였다. 편리성의 측면에서 대부분의 웹사이트가 사이트 맵과 안내기능이 제공되지 않고 있었다. 썅방향성 측면에서 국내 무용가, 무용단 웹사이트는 대부분 게시판 기능과 관리자 E-Mail 기능을 제공하고, 미국 무용가와 무용단의 웹사이트에서는 대부분 관리자 E-Mail을 제공하고 있다. 이러한 웹사이트 분석의 결과를 바탕으로 하여 무용 예술의 활성화를 위한 웹사이트 활용 방안으로 다음과 같이 제안한다. 1. 무용가, 무용단의 소개와 공연 작품 홍보활동 2. 무용의 이해를 위한 무용상식과 무용전문학술 정보 제공 3. Interactivity한 썅방향 커뮤니케이션을 위한 게시판의 활용과 게시판의 지속적 관리 4. 외국 정보 수요자들을 위한 외국어 지원과 외국 검색엔진에 등록 5. 무용가, 무용관련 종사자, 무용관련 회사의 웹사이트 링크를 통한 정보의 연계성 6. 웹사이트 이용자의 무용 간접 체험을 위하고 흥미 유발을 위한 동영상과 사진 이미지 등의 멀티미디어 기능의 활용 이를 통해 무용가와 무용단 웹사이트 활용을 향상시켜 잠재적으로 웹사이트 이용자의 무용 향유 능력을 배양시키고, 새로운 무용의 수요자를 개발하는 도구로 이용되어 질 수 있을 것이다. 그러므로, 무용가, 무용단 웹사이트의 활성화는 무용의 저변확대와 국내 무용 문화의 세계적 파급효과가 있을 것이다. 인터넷의 보급 확대는 최근 몇 년간에 이루어져 인터넷에 관해 섣불리 판단 할 수 없지만, 인터넷과 웹사이트는 어떠한 방향으로 발전시키느냐에 따라 무한한 가능성을 가지고 있다. 그러므로 무용 웹사이트의 개발에 지속적인 관심이 필요하다. Almost fields of society changed under the influence of the internet and internet became motive power of social changes. I guess this kind of situation is expanding with increasing speed due to development of technique & increase of internet user. As a result of above situation, we have to study about the practical use of internet by means of activation of dance art on the field of dance art. Dancer and dance party have a new mediator as informed a consumer of dance know themselves & their dance through web site. Also, Activation of web sites of dancer and dance party should be get the increasing of consumer and expanding of dance. I want to pursue activation of "dance art" through the research with a base of qualitative advance of "web site activation" by analysis of actual condition of web site of dancer & dance part and also make a activation plan & checking a situation of domestic web site by research web site of dancer & dance party in U.S.A. Practical using methods of web site for activation of "dance art" as follows, 1. Introduction of a dancer or a dance party and publicity activities of a public performance. 2. Common sense & learned information of special dance for understanding of dance. 3. Practical use of a notice board & continuous management of a notice board for a interactive communication. 4. Support of foreign language and registration on a foreign retrieval engine. 5. linking of information by link of dancer, connected worker with dance, connected company with dance. 6. Strengthening of function of multimedia as picture image, moving screen for induction of interest & indirect experience of internet user. Through above methods, we can make a improvement of subconscious using ability of user by improve activation of web sites of dance & dance party and also we can use web sites as tools of developing to new consumer of dance. Therefore, Activation of web sites of dancer & dance party make a culture of koreans dance has a far-reaching effect to world-wide. we can not decide about internet easily due to rapid spread of internet within latest few years, but internet has unlimited possibility by developing direction. Therefore we need continuous interest about development of "Web sites regarding the dance".

무용예술 활성화를 위한 문화예술정책 개선 방안에 관한 연구

맹상정 세종대학교 대학원 2003 국내석사

1970년대 이후 우리나라는 정치 · 경제 · 사회 · 문화예술 전반에 걸쳐 많은 변화를 거듭해 왔다. 21세기에 들어서면서 문화예술정책에 대한 관심은 급변하고 있으며 이에 대비하기 위한 정부 차원의 노력이 그 어느 때보다도 절실히 요구되고 있다. 이러한 점에서 우리나라 역대 정권별 예술정책의 변천 과정을 통해 무용계가 구현하고자 하는 비전이나 목표를 구체화 해 오고 있는가를 살펴보는 것은 대단히 의미 있는 작업이 될 수 있다. 그러나 국가 정책상 문화예술 분야가 차지하는 비중이 낮은 관계로 타 분야에 비해 괄목할 만한 성장을 이루지 못하고 있는 실정이며, 특히 예술 분야 중에서도 무용은 근본적인 정책 방안을 수립해서 발전시켜 나가야 할 분야 중의 하나이다. 본 연구는 무용 예술이 효과적으로 발전하기 위한 방향을 정책적 측면에서 제시해 보았다. 먼저 거시적 측면에서 1970년대 이후 우리나라 역대 정권별로 문화예술의 기조 변화를 살펴보고, 그에 따른 무용 공연 현황과 무용활성화의 문제점에 대해 연구하였다. 또한 무용계가 추구하고자 하는 비전이나 목표가 선진국과 비교해 볼 때 어느 정도 부합되고 차이가 있는가를 비교 연구하여 우리나라의 문화예술정책이 지향해야 하는 올바른 좌표를 설정해 보았다. 이 연구를 통해 우리나라가 앞으로 선진국가로 나아가기 위해서는 문화예술이 반드시 활성화되어야 하는 부분임을 밝혀두고자 했으며, 이를 위해 정부는 특정 예술분야에 치우치는 문화정책에서 벗어나 무용인들의 의견과 욕구를 적극 수용하는 자세를 가지고, 합리적인 문화예술정책을 제시하는 것이 시급한 일이라 사료된다. Since 1970's, our country has been changed over and over again in politics, economy, society and overall cultural arts. Entering into 21st century, the environment surrounding the cultural arts policy has changed very quickly. In this regard, government-level efforts preparing for this change is required urgently than any time. From this point of view, it is very significant work that looking about whether dancing world has embodied the vision or goal that want to realize through the changes of the previous administrations' art policy. But the cultural arts field has not achieved remarkable growth compared to other fields due to the lack of gravity on that field in the national policies. In the arts fields, especially dancing is one of the fields that has have to be developed by establishing fundamental policy plan. The study shows the way of effective development of dancing art in political side. For this, first I looked into the concept and necessity of the cultural art policy. And then, in the main subject, by showing the examples of the art promotion policies of Russia and U.S.A and France, I compared them with and analyzed those of Korea. Also by a wide and long eye, I looked into the keynote changes of the cultural art in accordance with the change of governments since 1970's and with regard to the change of keynote, I researched in detail about the problems of present condition of dancing performance and dancing activation. I could set up the correct co-ordinates that our cultural art policy has to head for by studying the vision or goal, which the dancing world is persuing, is how much agree with or not , compared with other countries. Through this study, cultural art is certain to be activated for Korea to go forward to the advanced country, and I tried to confirm theoretically and actually that it is urgent thing for the government to accept dancers' opinions and desires positively to escape from the partial policy to a specific art field and present reasonable administrative policy.

어린이무용극의 현황과 특성연구 : '개구쟁이와 마법사'를 중심으로

조주연 국민대학교 일반대학원 2023 국내박사

본 연구는 어린이를 위한 공연예술의 고유성을 인식하고 어린이무용극이 갖추어야 할 특성이 무엇인지 탐색함으로써 어린이무용극의 개발 및 질적 향상을 위한 이론적 토대를 마련하는 데 목적이 있다. 이를 위해 국내외 어린이무용극 발달과정과 주요작품들을 고찰하여 어린이무용극의 특성을, 총체적 특성(융합성), 전문적 특성(예술성), 교육적 특성(교훈성)으로 추출하였으며 이와 같은 어린이무용극의 특성을 바탕으로 국민학교 어린이무용극 <개구쟁이와 마법사>를 분석하였다. 국민대학교 어린이무용극 <개구쟁이와 마법사>는 연극, 음악, 미술, 무용의 융합 공연으로 기존의 장르를 탈피하여 작품 안에서 무용 예술의 총체성을 실현시킨 작품이다. 무용수들의 안무는 각각의 캐릭터를 직관적으로 표현하며 상반되는 캐릭터의 특성에 맞춰 대조형식과 정교한 안무구성으로 작품의 예술성을 부각시켰다. 또한 전문적인 특성을 갖춘 의상 및 오브제들은 극 전개의 개연성을 높여주고 관객들로 하여금 집중할 수 있게 하였으며, 교훈적 주제의식을 갖춘 대본과 연출은 교육적 함의를 내포하고 있어 어린이들에게 극 형식을 통해 규범을 이해하고 사회를 배우게 하여 전인 교육의 효과를 가져올 수 있는 작품이다. 특히 어린이무용극에서 나타나는 예술적, 양식적 특성에 대한 논의는 어린이무용극의 학문적 가치에 대해 구명하고 어린이무용극의 연구를 위한 기초자료를 제공함으로써 이론적 가치가 있으며, 어린이무용극의 개발 및 질적 향상과 나아가 어린이공연예술의 활성화를 위한 응용적 가치를 지닌다. 향후 후속연구를 통해 어린이무용극의 특성을 보다 심도 있게 논의하여 이를 반영한 다양한 작품분석 연구와 실천이 이루어질 수 있기를 기대한다. This study is aimed at establishing a theoretical foundation for the development and quality improvement of children's dance drama by recognizing the uniqueness of performing arts for children and exploring the characteristics required for children's dance drama. For this purpose, the development process and major works of children's dance drama at home and abroad were examined to extract holistic characteristics (convergence), professional characteristics (artistry), and educational characteristics (didacticism) of children's dance drama works, and based on this, <Gaegujaengi & Mabeopsa>, a children's dance drama by Kookmin University, was analyzed. The children's dance drama by Kookmin University,<Gaegujaengi & Mabeopsa> is a convergence of theater, music, art, and dance, breaking away from existing genres to realize the holistic nature of dance art in the work. The choreography for dancers intuitively represented each character and emphasized the artistry of the work, with contrasting formats and elaborate choreographic composition to match the opposing character traits. In addition, the costumes and objects with professional characteristics enhanced the plausibility of the drama's development and made the audience concentrate, and the script and direction with a sense of didactic theme had educational implications. Therefore, it is a work that children can understand norms and learn society through the drama format, which can bring about the effect of holistic education. In particular, the discussion of the artistic and stylistic characteristics of children's dance drama has a theoretical value by identifying its academic value and providing basic data for studies on children's dance drama, and an applied value for the development and quality improvement of children's dance drama and further revitalization of children's performing arts. Therefore, it is hoped that further subsequent studies will discuss the characteristics of children's dance drama in more depth and analyze various works and practices that reflect them.

Social Dance After Social Practice: Between the Stage and the Museum

Evans, Randi Marie University of California, Berkeley ProQuest Disser 2022 해외박사(DDOD)

This dissertation examines dance practices by choreographers and visual artists from the late 20th century whose work incorporates a range of (often marginalized) communities in order to address the social issues of their time. I argue that these participatory and collective dances by Anna Halprin, Adrian Piper, and Bill T. Jones are overlooked in the nascent genealogy of social practice that has yet to consider dance as either a medium or conceptual frame. Conversely, I contend that the frame of social practice addresses a gap in dance studies that has yet to contend with the ethics, power dynamics, and history of community-based and community-sourced dance practices. Through the conscious deployment of bodies in space, social practice often appears as staged encounters, and performance studies scholars, such as Shannon Jackson, have analyzed it as such. Yet, I argue social practice is also inherently choreographic. By bringing a dance framework to social practice—and an art historical framework to dance studies—I demonstrate the synergy between social practice and the ethos of Black social dance: improvisation, community, and collectivity. Such connections and influences prompt the need to elaborate new frames and categories around what I call “social practice dance.”.