러시아 구성주의 무대미술 특성 연구

이찬협 상명대학교 예술디자인대학원 2015 국내석사

This paper focuses on theatrical production between 1917-1930, and focuses on the artistic scene and the formative relationship between nature and social change in Russia of the time. The Russian Revolution and adoption of socialism inspired young artists to develop indeed give birth to a colorful stage art based on the experimental spirit of the new age which reflected social change and involved a methodology of audience inclusiveness. This fusion of art and society was the result of disciplines and ideas between the director, playwright or choreographer yet to reflect the message of the artists with the background message that “the individual is directly involved.” The Lenin and Lunacharsky Center embodied this ideology and had its roots in the national and cultural arts policies and guidelines that established the edict that “creative potential should not leave the limits to artists control since faithfully maintaining the ideological path did not have to be exclusive of one another. These “constructivist stage artists” knew that Russians will actively intervene in the New Intellectual Movement like a social reality of the times and get establish thoughts with the active participation of informed citizens. This interest was a time of high interest and the whole country was supportive of theater with the audience interaction this community-wide active vigor and interest of the audience and actors, by changing the relationship between the stage and the audience has earned a form to create a theater space together as Constructivism. Changes in this theater space were a way to encourage the creative role of the audience for the completion of the play. It was built as part of a new society through the theater. To be presented to the audience that the world is a space that is expressed through the visual and metaphorical target. The space is the meaning of the 'theater' and actors of the act of breathing reality as the theater and the audience happening 'place' is implied at the same time. That theater audience concentration and feelings of the audience, depending on whether face-to-face in any form will vary. And yet another stage is a unique character depending on the relationship between the space occupied by actors and stage equipment. Thus, the stage forms a writer, director and actor, one of the art forms that thoughts and feelings are gathered from the audience. Therefore, if the age is changed automatically think of the producers participating in the theater and stage art changed also changed. It also has a distinguishing characteristic of contemporary arts and other stage means that the social environment is different around the theater. When viewed in this context it was characteristic of the Russian constructivist art scene to be represented as a staged theater within the theater. Russian constructivist stage for art property looks briefly as follows: 1. First, the Russian constructivist art stage properties were deprecated the 'fourth wall' concept, unlike the stage and the audience, the separation of actor and audience of theatrical naturalism emphasizes the same space, the same role. Russian constructivist art scene that occurred before and after the revolution made the theater space into one concept to elicit the active participation of citizens. This was their way of expressing the results where the ranks of civil society demand’s were looking for or even eliciting the active participation of the people in the process of building a new society. At the time this trend has appeared in the auditorium and the stage where thousands of people on stage were actively involved in these works as theatrical troupe of amateur actors and a number of Russian Constructivists was as festive as one. This property could be developed for individuals as expressions of citizenship through the development of the revolution and socialism by default. 2. Second, the Russian constructivist art scene under the influence of scientific and technological developments implemented the image of the machine age. In the stage art iron, glass, metal plates, plastic, metal pipes, etc. chose the new sanctions, stage equipment were able to move production to the actors. Modern mobile use was using a video screen and provided the industry image. These mechanical devices were a symbol of progress in science, technology and industry to the Russian constructivist stage artists. Furthermore, in pursuit of functional art which can be used in real put a lot of potential in the modern field of applied art. 3. Third, the Russian constructivist art scene under the influence of Cubism is to simplify and organize the formative stage device as the three-dimensional geometric shape made of three-dimensional space. A variety of stage equipment was basic geometric shapes into the expression. Geometric representation is made that the universal mathematical discipline and rational thought and the objective was to strip personality. The universal shape that is easily accessible, genius is the way that the artist was opposed to modernist art galleries gave birth to work. So everyone assembled a ready-made object, geometric representations that can be configured into a larger piece is an important representation in the Russian constructivist art scene. Constructivist sculpture are also taking the stage device is shown as an independent object. Each object has existed in intensity but independent means designed to be used as different meanings each scene. This stage device could have meant by specific actions of the actors in the scene, each stage as formed between the device and the audience was composed of actors with new meaning. Namely the Russian constructivist art scene is changing citizenship and the arts, science and technology, it is to realize the utopia of a harmonious combination of the industry through the art works, since the Russian Revolution wholehearted political sup 러시아 구성주의 무대미술 특성 연구 본 논문은 러시아 혁명이 발발한 1917년부터 1930년까지 활성화 되었던 러시아 구성주의 무대미술의 특성을 사회 변화와 연관 지어 연구한 것이다. 사회학자 아돌포 산체스 바스케스(Adolfo Sanchez Vazquez, 1915~2011)는 그의 연구에서 예술자체는 하나의 사회적 현상으로 규정지을 수 있으며 예술과 사회의 불가분의 관계라고 밝혔다. 19세기 유럽은 자연과학과 인문과학의 발달로 기술의 발달과 사고의 혁신이 일어나게 되었고, 이러한 변화들이 바탕이 되어 다양한 사조의 시민 문학과 예술이 나타나게 되었다. 하지만 러시아는 여타유럽과 전혀 다른 상황이 전개되고 있었는데, 블라디미르 레닌(Vladimir Ulyanov Lenin, 1870~1924)에 의해서 발발한 러시아 혁명이후 러시아의 문화·예술은 정책적 지원을 받으며 전반적으로 발전하게 되었다. 시대의 변화에 영향을 받지 않은 예술을 찾아보기는 힘들지만, 러시아 구성주의는 다른 어떤 예술 사조보다 사회 변화에 지대한 영향을 받았다. 혁명 직후 노동자와 민중 중심의 시민문화 건설에 적극적으로 부응한 예술가들은 대부분 러시아 아방가르드 계열이었는데 이들은 페테르스부르그와 모스크바에 집중되어 혁명 이전부터 서구의 아방가르드 운동에 많은 영향을 받으며 활동하였다. 하지만 1924년 이오시프 스탈린(Ioseb Dzhugashvili Stalin, 1879~1953)으로 집권체제가 바뀌자 러시아 구성주의는 형식주의라는 비난과 함께 정치적으로 압박을 받게 되었고 러시아 구성주의 예술가들의 입지가 점점 좁아지게 되고 결국 숙청당하거나 망명을 떠남으로써 그 예술 열기는 사라지게 되었다. 러시아 구성주의 무대미술의 조형적 공간감은 현대 무대미술에 중요한 영향을 주었고 실험적인 연극을 할 수 있는 토양을 제공하였고 현대 건축, 의상, 사진과 응용미술 분야인 시각 디자인 분야에도 새로운 에너지를 불어 넣었으며 현대적 조형미의 원형이 되었다. 즉 미술과 과학 그리고 생활이 조화를 이루는 사고방식의 밑거름을 제공하였다. 개념 그대로의 자연주의 연극 무대미술이 아니라면 현대 연극의 무대미술 특성은 모두 20세기 초기 아방가르드 연극의 영향을 받았다고 할 수 있다. 특히 아방가르드 연극 안에서도 러시아 구성주의 연극 연출가들의 실험적인 극 공간에 대한 이해는 현대 연극과 무대미술의 이해를 위해 필수적이다. 새로운 공간 탐구와 그것에 상응하는 조형적이고 기계적인 무대장치 개발은 고전적 아방가르드 연극 운동의 중심이었다. 이들의 무대미술에서 주목할 만한 사항은 2차원의 평면적이고 장식적인 회화의 특징이 사라지고 입체적 형태의 3차원적 조형물들이 극공간 전체에 등장하기 시작했다는 것이다. 이것은 허상의 공간이 아닌 현실적인 공간에 주목하게 되는 변화를 적극적으로 수용하는 예술가들의 사고 변화와 더불어 러시아의 사회적인 변화에서 비롯된 것이라고 본다. 러시아 구성주의 연극은 다른 어떤 경향보다 그 문제에 집중했다. 특히 시민의식의 변화, 과학기술의 발전이 가지고 온 기계시대의 역동성과 그에 따른 기하학적인 입체적 장치물들은 사회변화 특성과 연관 지은 러시아 구성주의 무대미술의 특성 중에서도 주목할 만한 특성들이다.