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무용수 신체조건에 맞는 무용훈련의 중요성과 필요성에 대한 연구
손윤숙 한양대학교 우리춤연구소 2011 우리춤과 과학기술 Vol.7 No.1
영국의 무용미학자 그래함 맥피는 그의 무용미학 저서 ‘무용의 이해(Understanding Dance)’에서 “무용에는 역사성”이 있다고 했다. 무용은 시대에 따라 변하고 있다는 것이다. 비슷한 맥락에서 무용수의 완벽한 모델이 되는 신체조건도 시대에 따라 변하며 달라져왔다. 한 때는 지금 우리들의 시각으로 보면, 뚱뚱하다고 할 수 있는 발레리나가 최고의 무용수 모델이 되기도 했다. 지혜로운 무용인들은 나이를 먹어가면서, 자신이 어떤 신체를 가졌는가에 보다는, 자신의 신체조건을 어떻게 무용에 이용하는가 하는 데에 주안점을 가진다. 사실 이 세상에는 완벽한 무용수의 모델이라는 것은 없다. 우리 무용수들도 시대에 따라 어떤 유행의 노예가 되어왔던 것도 사실이다. 과거의 무용 사진을 시대별로 보면, 시대에 다라 무용수의 ‘미(beauty)’와 ‘뛰어남(excellence)’의 기준이 달라져 왔음을 알 수 있다. 과거의 무용수들은 완벽한 슬림형을 최상으로 보는 오늘날의 기준으로 본다면, 비록 뚱뚱하다고 볼 수는 없지만 통통한 모습의 신체조건을 보이는 경우가 많다. 미국 현대무용의 창시자라고 하는 이사도라 던칸의 체형은 결코 가늘고 연약한 요정 같은 체형이 아니었다. 그리고 지금부터 약 200여 년 전인 1832년 파리에서 ‘라 실피드(La Sylphide)’가 세계 초연될 당시 주역을 맡았던 전설적인 로맨틱발레의 발레리나 마리 탈리아니도 결코 오늘 날 기준에서 날씬한 모습의 체형이 아니었다. 위대한 남자무용수 오우거스트 베스트리스(August Vestris)도 오늘날 남자 무용수의 기준으로 보면, 난쟁이라고 표현될 수 있을 정도로 키가 크지 않았다. 다시 말하면 무용수 신체의 조건이라는 것의 하나의 고착된 기준은 없다는 것이다. 개인적인 타고난 신체의 조건도 모든 무용수들이 서로가 다르고, 시대에 따라 그 선호도도 달라져 왔다는 것이다. 결국은 무용수들 스스로가 어떻게 자싱의 신체에 맞는 훈련 스타일을 개발하고 자신에게 최적의 상태로 맞아가는 무용훈련을 찾아나가는 가 하는데 달려 있다는 것이다. 따라서 본 논문에서는 무용수 개별 훈련의 목적과 의미를 알아보고, 무용수들의 신체의 개별적 장점과 약점을 확인한 다음, 무용수 신체구조의 개별적인 특성을 이론적으로 그리고 집중적으로 규명한다. The purpose of this study is to investigate the importance and necessity of dance training for the individual dancer’s body condition. Despite basic structural similarities, there are remarkable differences between one human body and another. You don’t need a perfect body to dance well. Generally, anatomy is not destiny, but understanding your individual body and how to work with it is. Almost everyone can learn to jump, turn and balance adequately, if not brilliantly. Beautiful line can be attained without 180-degree turn-out in the hips or sky-high extensions. Few people fully realize that all body types are good for dancing, provided you choose a complementary dance style and get competent training. As with age, what matters most is not so much what you start out with in the way of physical equipment, but what you do with it. There really is no preordained formula for the perfect dancer’s body. We are all slaves of fashion to some degree. Pictures of performers through the ages testify that standards of beauty and excellence change over time. Dancers of the past appear stocky, if not downright plump, when judged by our present norms. Isadora Duncun was no sylph. Your body type determines the way you are inclined to move and how movement looks on you. It makes some things in dancing easier to do and some things harder. A knowledge of your physical make-up - information that upholds little by little through feedback from teachers, self-observation and experience - should help direct you to a compatible style of dancing, as well as the teacher and training method that are best suited to you. The whole idea behind dance training is to discover and develop your own unique capacity for movement.
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손윤숙 全北大學校 1996 論文集 Vol.41 No.-
In this In this study an attempt is made to deal with the ballet technique Training program of Foreign Countries including England, France, Sweden, united states, and russia The Royal Ballet School in england consists of a Lower School for Children Between the ages of eleven and sixteen, and as upper School for Studunts age sixteen, and over, this School's main purpose of the Training program is to provide dancers for the Royal Ballet and sadier's wells Royal Ballet. Students go on point about Halfqay Through their first term at Lower School. Paris Opera Ballet School in France was established in the reign of Louis XIV. the majority of the Studens who enroll in the school Comolete six years of Training and then enter the Paris Opera Ballet. Exams are administered at the end of each year to Determine which studunts are quelified to continue in the Program. The Opera Ballet School was inaugurated in Sweden by king Gustav Ⅲ in 1733 and until 1981 offered classes after regular school hours. However, in 1981 the school's traditions and resources werw Transferred to the municipal school system of Stockholm, unde the authority of the Board of Education and renamed the Royal Swedish Ballet School. While the Royal Swedish Ballet School. While the Royal Swedish Ballet school maontains close contact wit the Royal Opera Theater, it now integrates Traditional academic studies with dance Education, a goal achhhhieved after years of pianning and discussion. The school of American Ballet is located on West sixty-sixty street of New York and final cially supported by the Ford Foundation and other privato and coorporate sources. At the end of their SABschooling, many students are taken into the New York city Ballet company with which SAB is affiliated. Students are admitled to the school through audition. General physial qualities sought are long logs, narrow knees, high in steps, long necks, small heads and nataral turnout,. The school has five childerns divisiona, and children are admitted between the ages of eight and nine. Studennts are placed on pointe in ganuary of their first year of study. At that time they time they get fifteen minutes of pointe at the end of their regular three weekly. Hour-end-a-halt technique classes. By the fifth year, they are taking four hour-and-a-half ballet classes a week and a week. There are no provate dance studios in russia. Early dance traning is offered at local recrcation center called palaces of the Pioneers. Teeachers at these centers are usually fdrmer members of major Ruassian ballet companier or graduates of state-sponsored teacher tranining programs. dance classes at the palace are generally offered three times a week and are part of a broad spectrum of classes in all the art. these classes are offered for enjoyment and an understanding of the arts rather than as professional training. Stydents who exhibit a special interest in dance are auditioned for major company schools at the ago of ten. Entrance requirements are rlgorous, and students mush show both exceptional promise and meet exacting physical standards. Only those having what has been defined as a perfect dancers body can be admitted.
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손윤숙,정규돈,조현숙,이상묵,박건,이종호,정지현 대한마취통증의학회 2006 Korean Journal of Anesthesiology Vol.50 No.3
A tracheoesophageal fistula (TEF) was detected in a woman who received chemotherapy for acute lymphoblastic leukemia. The fistula biopsy confirmed the aspergillus infection. A large fistula was located at the lateral wall of the carina involving the proximal left main bronchus, and the orifice of left main bronchus was almost completely obstructed by white mass-like plaque. Primary repair was planned using the right thoracotomy approach. We originally planned to selectively intubate the left lung with the aid of fiberoptic bronchoscope without success. Therefore, we selectively intubated the right lung. Hypoxemia developed during surgery and the level of oxygenation was improved by selectively intubating the left bronchus from the surgical field once the defect had been exposed. We review the ventilation technique and anesthetic problems encountered in patients with a large distal TEF. (Korean J Anesthesiol 2006; 50: 346~50)
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Sevoflurane과 Remifentanil로 마취유도 시 저용량 Rocuronium이 기관내 삽관조건에 미치는 영향
손윤숙 대한마취통증의학회 2007 Anesthesia and pain medicine Vol.2 No.4
Background: We evaluated the effect of low doses of rocuronium on tracheal intubating conditions and hemodynamic changes during induction of anesthesia with 8 vol% sevoflurane and remifentanil 1μg/kg. Methods: Eighty four patients were randomized into one of three groups; Group I, II, III. Each group received normal saline, 0.3, 0.45 mg/kg of rocuronium respectively. Predetermined drugs for each group and remifentanil 1μg/kg were administered during induction of 8 vol% sevoflurane. After induction of 8 vol% sevoflurane, tracheal intubation was preformed. The tracheal intubation conditions and hemodynamic responses to tracheal intubation were assessed. Results: Tracheal intubation was successful in all patients. The incidence of clinically acceptable intubating conditions was 79% in Group I, 100% in Group II, and 100% in Group III. There was no significant difference in intubating condition between Group II and Group III. The hemodynamic responses to tracheal intubation were blunted in all groups. Conclusions: After induction with 8 vol% sevoflurane and remifentanil 1μg/kg, low-dose rocuronium provides more satisfactory tracheal intubation conditions.
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저용량의 Rocuronium을 사용한 기관내 삽관 시 사전예비정주법이 Rocuronium의 작용 발현시간과 삽관 조건에 미치는 영향
손윤숙 ( Yoon Suk Son ),정규돈 ( Kyu Don Chung ),조현숙 ( Hyun Sook Cho ),유승준 ( Sung Jun Yu ),김수화 ( Su Hwa Kim ),이상묵 ( Sang Mook Lee ) 대한마취과학회 2009 Korean Journal of Anesthesiology Vol.57 No.4
Background: A priming dose of rocuronium can shorten the onset time of neuromuscular blockade. The purpose of this study was to evaluate the effect of priming with rocuronium on the onset time and intubation conditions during tracheal intubation with low-dose rocuronium (0.35 mg/kg) and to compare results with those for rocuronium 0.45 mg/kg. Methods: One hundred twenty four patients were randomly allocated to three groups. Following induction of anesthesia, groups I and III received normal saline while group II received a priming dose of rocuronium (0.05 mg/kg). Three minutes after priming, groups I, II and III received, respectively, 0.45 mg/kg, 0.3 mg/kg and 0.35 mg/kg rocuronium. Intubation was performed 2 minutes after the administration of an intubating dose and intubation conditions were evaluated. Neuromuscular blockade was assessed by accelerography. Results: The proportion of cases having optimal intubation conditions in group I was higher than in groups II and III. There was no significant difference in the onset times among groups. Neuromuscular blockade at 60, 90 and 120 seconds after an intubating dose was similar among all groups except at 60 sec. Maximal blockade for group I was deep compared to groups II and III. Conclusions: Rocuronium 0.35 mg/kg does not provide satisfactory intubation conditions. There are no effects on onset time and intubation conditions due to priming during tracheal intubation with rocuronium 0.35 mg/kg. (Korean J Anesthesiol 2009;57:444∼9)
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