국립발레단 <해적> 재안무 연구

조언위 ( Eonwi Jo ),안남일 ( Namil An ) 대한무용학회 2023 대한무용학회논문집 Vol.81 No.4

Through the analysis of the provides important data for building another unique repertoire through the analysis of the National Ballet's < Le corsaire > re-choreography work, and aims to study the details of the adaptation and whether re-choreography works contribute to popularization in modern trends to audiences after 2020. The ballet work < Le Corsaire > has changed various elements such as music, choreography, characters, and ending according to historical trends. Greece and Turkey, the geographical background common in the ballet work < Le Corsaire >, and the slave market and the palace of Harem have been working in leading ballet companies with this narrative structure so far over time. The re-choreography of the 2020 Korean National Ballet < Le Corsaire >, which is the subject of this study, was newly created to suit the modern trend and reduce the historical pain of Korea by re-choreography and adaptation of narrative, choreography, and directing. In this study, the analysis of the changes of the Korean National Ballet < Le Corsaire > was largely summarized into three categories: narrative, choreography, and directing. First, the analysis of the narrative can be examined through the analysis of changes in the membrane, the analysis of changes in the character, and the analysis of changes in the ending, which are the most changed parts of the Korean National Ballet's < Le Corsaire > re-choreography work. We tried to adapt the overall contents with the aim of creating a new re-choreography work for Pirate, which is ours, and showed a challenging and independent attempt to reconstruct Korea's independent < Le Corsaire >. Second, the change in the choreography of the Korean National Ballet's re-choreography < Le Corsaire > was choreographed by logic to equip the reality of the story, and the choreographer's philosophical meaning was faithfully reflected. Third, the biggest change is to highlight the dancer instead of the colorful background in the dance and acting scenes of the Korean National Ballet's < Le Corsaire > re-choreography work. The premiere of the Korean National Ballet's < Le Corsaire > re-choreography was an opportunity to build based on the unique repertoire of Korean ballet in accordance with the current situation, and it was a challenging attempt made despite the fact that the performance was not continuous due to COVID-19. In addition, the Korean National Ballet's < Le Corsaire >re-choreography study, which was derived through this study, was adapted and re-choreographed in accordance with the modern trend that other ballet troupes in Korea have not tried, can suggest that it is an important starting point for establishing the Korean National Ballet's unique pre-movie repertoire and an influx of new visitors.

한국 모던발레 60주년에서 서울발레시어터 ‘현존( Being) ’의 역할과 역사적 의미

김지연 한국체육사학회 2023 체육사학회지 Vol.28 No.3

본 연구는 한국 모던발레 60주년의 국내 모던발레 역사와 모던발레의 한 획을 그었던 서울발레시어터의 작품 ‘현존(Being)’을 통해 그 역할과 역사적 의의를 살펴보았고, 다음과 같은 결론을 도출하였다. 첫째, 국내 모던발레는 1962년 국립무용단 창단이전부터 임성남, 송범에 의해 다양한 작품이 시도되었다. 이들의 활동은 각 대학과 발레단에 영향을 미쳤고, 정치, 문화적 상황에 맞게 한국창작발레로 변화, 발전하였다. 둘째, 1995년 모던발레 대중화를 위해 탄생한 서울발레시어터의 다양한 작품 활동은 국내 모던발레에 새로운 시도였고, 특히 현존(Being) 작품은 당시 무용계에서 큰 화제(sensation)를일으킬 정도로 파격적이었다. 다만 당시의 정서가 이 작품을 받아들이기에는 한계가 있어 그 발전이 더딜 수는 있었으나혁신적이고 대담한 장르 탄생이 우리나라 모던발레의 발전에 큰 영향을 주었다. ‘현존(Being)’을 통한 새로운 시도는 재정적, 조직적, 사회적, 문화적인 한계에도 불구하고 한국 모던발레의 발전에 매우 가치 있는 의미가 있다고 분석할 수 있다. This study examined the roles and historical significance of a work ‘Being’ by Seoul Ballet Theatre that went down in history of Korean modern ballet in the 60th anniversary of Korean modern ballet, and then drew conclusions as follows. First, in domestic modern ballet, various works were attempted by Lim Seong-Nam and Song Beom even before founding the National Dance Company of Korea in 1962. Their activities influenced each university and ballet company, and then changed/developed into Korean creative ballet suitable for political/cultural situations. Second, various work activities by Seoul Ballet Theatre founded for the popularization of modern ballet in 1995 were new attempts on domestic modern ballet, and especially, the work ‘Being’ was really exceptional enough to create a sensation in the dancing world of the time. The social sentiment of the time was limited to accept this work, so the development was slow. However, the birth of the innovative and bold genre had great influences on the development of Korean modern ballet. Although it was sinking without blooming due to financial, organizational, social, and cultural problems, this attempt is greatly significant for the development of Korean modern ballet afterwards.

Impact of Ballet Competitions on the Career of Ballet Students in the Klang Valley, Malaysia+

Chew Yee Hsuen,Premalatha Thiagarajan,Tan Chai Chen 무용역사기록학회 2022 무용역사기록학 Vol.66 No.-

This article examines how two ballet competitions influenced the decision of students in the Klang Valley to pursue ballet as a career. Although learning ballet is generally considered a leisure activity in Malaysia, a growing number of ballet competitions in the Klang Valley has influenced students to pursue ballet seriously as a discipline. Using ethnographic research by interviews and archival research, this essay analyzes how two ballet competitions have become commodified through branding strategies, dance competition categories, fees, and scholarships. My analysis of interviews with competition organizers, ballet school principals, ballet teachers, and students suggests that competition organizers commodify ballet competitions for economic opportunities. Nevertheless, the scholarships and opportunities offered by ballet competitions to prestigious ballet institutions overseas have encouraged students in the Klang Valley to pursue careers in ballet. As a result of participating in competitions, students have taken ballet training more seriously, resulting in a higher demand for coaching, thus generating greater capital flow into the ballet industry in Malaysia. Throughout this study, the importance of the intersection between dance and economy is highlighted.

한국적발레의 세계화 과정(국립발레단 한국적발레 작품을 중심으로)

김지연 ( Ji Yeon Kim ),제임스전 ( James Jeon ) 한국체육사학회 2014 체육사학회지 Vol.19 No.4

본 연구는 한국적발레의 세계화과정에 관한 것으로 국립발레단의 한국적발레 작품을 중심으로 세계화 과정의 흐름을 살펴보았다. 우리의 것을 소재로 한 한국적 발레의 시도는 1962년 국립무용단 창단직후부터 있었으나, 발레의 형식과 틀을 갖추기 시작한 것은 국립발레단 재 창단 이후 이며 1974년 전막 한국적발레 ‘지귀의 꿈’을 시작으로 ‘대비’, ‘처용’, ‘배비장전’, ‘춘향의 사랑’, ‘왕자 호동’, ‘고려애가’ 등의 굵직한 작품들을 만들어냈다. 앞으로 우리나라의 발레가 세계 정상이 되기 위해서 한국적발레를 발전시키는 작업이 필요하다. 가장 한국적인 것이 가장 세계적인 것이 될 수 있다는 기본 명제를 실현시킬 때 우리나라 발레계도 희망적이다. 국가적 측면에서는 국가 간의 문화교류와 우리나라의 여러 발레단들이 자유롭게 한국적발레를 안무할 수 있도록 많은 사업들을 지원해준다면 한국적발레 작품들도 백조의 호수나 호두까기 인형처럼 세계적인 레퍼토리가 될 수 있을 것이라 확신한다. 또한 한국적 소재와 한국적 정서로 발레에 대한 거부감이나 부담을 없애는 작업들로 누구나 편하게 발레라는 장르에 다가갈 수 있도록 해야 할 것이다. The purpose is process of globalization of Korean ballet. We try to be a material of Korean ballet founded the National Dance Company after 1962, it began to form and equip the framework of the Ballet National Ballet, and later re-founded ‘dream of jigwi’, ‘Love of Chunhyang’, ‘Prince Ho-dong’. Evaluation of the critics on the Korean ballet could see that there were a lot of effort to practice the basic proposition that can be relative or conclusion, Korea is the world of each other. The future of Korean ballet to further develop the work will be a lot of effort to create a worldwide repertoire like ‘Swan Lake’ and ‘The Nutcracker’. Be the first to popularize the work required to allow the public to focus on the genre of ballet and feel familiar to those working to eliminate the burden and reluctance on the ballet in Korean materials are also needed. It will also be easier to make a social contribution program to spread all over the ballet.

도쿄시티발레단을 통해 본 일본 발레의 현황

김복선 ( Bok Seon Kim ) 대한무용학회 2010 대한무용학회논문집 Vol.62 No.-

This study examines a historical flow and trend of Japanese ballet culture from an anthropological point of view. Although ballet culture in Korea and Japan historically has a similar root and development, there are quite differences between dance education and cultural trend in two countries today. Firstly, while professional dancers are fostered through university or higher education system in Korea, ballet education in Japan mostly relies on private dance studios. Secondly, Japanese ballet education, which higher education for dance is not developed, focuses on dance technique. Thirdly, the most important factor to lead Japanese ballet culture is to invigorate private ballet companies like Tokyo City Ballet. Many private ballet companies in Japan provide professional ballet dancers good performance opportunities to develop their artistic talent and that helps to continue their career in society as well. There is also a problem that many professional dancers are worried about unstable financial situation. However artistic level and technical system of Japanese ballet reach a high standard in that, as well as Japanese ballet dancers, many foreign ballet dancers are working for private ballet companies as guest dancers.

국립발레단의 "한국적 발레" 작품들에 나타난 한국적 특성에 관한 연구

김경희 ( Kyung Hee Kim ) 대한무용학회 2008 대한무용학회논문집 Vol.55 No.-

The purpose of the study was to investigate the Korean peculiarities manifested in Korean ballets performed by Korean National Ballet Company since 1962 up to the present. The following problems were proposed; first, how the Korean ballet was emerged and developed; second, how the term ``Korean ballet`` was established; third, how many Korean ballets were performed, and what are the subjects and choreographic intent of these works. The methodology for the study was to analyze the relevant written materials, including pamphlets and reviews from newspapers and magazines, and to conduct interviews with the related people. According to the programs of Korean National Ballet Company`s performances, the term “folk ballet” was used as “Korean ballet” by Bum Song in 1962, and “Korean ballet” by Juri and “ethnic ballet” by Sung Nam Lim were also used as “Korean ballet” in 1964. Later, “Korean creative ballet” and again “ethnic ballet” were used, meaning “Korean ballet”. Through this process, the term “Korean ballet” was established as the one of dance genres in Korea. Korean National Ballet Company presented 19 Korean ballet works, including short pieces. The Korean peculiarities manifested in these works are as follows: in the initial stage, the choreographers` intents were directly reflected to the characters being played the principal roles by the choreographers, themselves; in the earlier works the Korean traditional dance form was adopted by itself, but gradually the Korean dance form was combined with the western harmoniously; the subjects were exposed to emphasize the national identity which should be distinguished from those of other national communities; the works of the 80`s were created under the socio-political obligation to introduce Korean culture to foreigners. Among them, only 「Giguie`s Dream」and 「Chu-youg」 were reproduced with rectifying the defectiveness and switching the principal dancers. It is very disappointing that the Korean National Ballet Company does not have any Korean ballet repertoire. I, the researcher, strongly believe that the Korean National Ballet Company presents the representative Korean ballet works in the near future. Also, this study would provide the valuable resources for the future researchers to further study about Korean ballets. It is suggested that Korean National Ballet company presents the ``Korean ballets`` through re-examining the former repertoires, and create new products considering subjects, technique, music, stage setting, costume, lighting, and etc.

A study on the Cultural Character of Russian Ballet

이지향 무용역사기록학회 2012 무용역사기록학 Vol.26 No.-

The article provides a flow chart for the transitions of the Russian ballet in the time span between the late 17th century to the early 20th century. More than a historical flowchart of the Russian ballet, it confers further detailed understanding of causes and effects which had shaped today's unique Russian ballet. Ballet was never originated in Russia. Ballet was a form of high class dance which was imported from the western European countries in the 17th century. Its initial landing in Russia was promoted by Czar Pyotr I who had ambition to reform Russia into a more civilized as well as mightier state. The ballet was one of his national policy. The initial phase of the newly introduced ballet involved with active absorbing from invited ballet masters and choreographers. The western ballet style was readily accepted as a standard to follow. Ballet institutes such The Imperial Ballet Schools and Theatres were established and mostly centered at the cities St. Petersburg and Moscow with the supports of Russian monarches. As it approached 19th century, the Russian ballet which was originally adapted from other western countries for the purpose of cultural enlightenment of the ruling classes became more specialized. The expression of the ballet with splendor was the essence of all and more or less it became a heritage character of the Russian ballet. However, the recognition of the Russian ballet's true identity as Ballet Russes' began in the early 20th century. This gaining of the world wide reputation of the Russian ballet owed to the work of Diaglilev along with his many recruited outstanding ballet dancers. They actively performed the so called neoclassical ballets'or Ballet Russe'overseas. As a result, the Russian ballet became the origin for the introduction of the neoclassical ballet overseas, particularly in Europe and America. This became meaningful in that the Russian ballet had gone beyond the status for the purpose of the limited cultural revolution. The neoclassical Russian ballet was rather a national symbol of arts. The Russian ballet then experienced vicissitudes of various changes in plots and styles after the socialist revolution in 1917. It was age of political and economical chaos, and there was no leniency for people who desperately sought daily necessities to enjoy the ballet. Worse than it, a large population of critics censured the ballet as an abominable product of the former imperial family and the bourgeois class. The proposal of abolishing the ballet performances was refuted by the very leader of the revolution. The communists, Lenin, Anatorii Luncharsky and others still willing to sponsor the progression of the ballet since they thought the ballet was required to nurture the public. However, the ballet in this time, transformed into a tool to the sociologist ideology. More and more ballets with unrealistic plots were removed and replaced by the ballets with proletarian tastes. In fact, the ballet productions after the revolution were characterized by their emphasis on the heroism and legitimacy to the revolution. On the other perspectives, the Russian ballet during the post revolutionary period was more down-to-earth. The plots and styles focused on detailed storytelling and the psychological representations to the audience. Under the constant support and supervision of the socialist government, the Russian ballet prospered and enabled to capture high quality ballet population. Important of all, the Russian ballet was able to maintain familarity from the general public and continuously be cherished as national heritage. Although the ballet under the influence of the communism brought some downturn of its true artistic purpose, the ballet survived and further prospered among the general public. With the strong will power of Russian ballet masters such as Agrippina Vaganova and others, the Russian ballet was able to retain its classic elements from the past. Thus, a wholistic or a well bala...

드라마틱 발레의 형식적 특성에 관한 연구

정종훈,이진숙 東亞大學校附設스포츠科學硏究所 2004 스포츠科學硏究論文集 Vol.22 No.-

The ballet, as a representative genre of theatrical art, has developed with constant opposition between dramatic ballet laying emphasis upon its dramatic characteristics and plotless ballet putting stress on integrity of dance. In this respect, this study attempts to investigate some types of ballet with its brief historical survey. Jean George Noverre(1727-1810), a historical father of dramatic ballet, insisted union of dancing and drama on the basis of his theory "ballet diction". Mikhail Fokin(1880-1942) in the early 20th century, experiments a possibility of "new ballet" with a stress upon synthesis of ballet, completing its "five principles" and he values human's inner emotion and its expression above everything else. In the mid 20th century, Antony Tudor(1908-1987), a successor of M. Fokine's spirit, raised up the level of formal characteristics of dramatic ballet, creating a genre called "psychological ballet". In addition, Kurt Joose(1901-1979) and John Granko(1927-1973) created a structural characteristic of dramatic ballet. Its main contents are as follows : First, plot, a composition of story required to dramatic ballet, is an essential requirement providing the inner order of work. Second, persons or characters are the main element developing story, Third, action is only direct means to understand persons, and prior to others. Fourth, uniting all expressive elements of theatrical art make sure the synthetic feature which dramatic ballet is pursing as a total art. In conclusion, it can be expected in this study that the formal features of dramatic ballet and its types according to the times would be recognized and received more seriusly and deeply in understanding and producing ballet.

유아 영어발레 프로그램의 교육원리 및 방법론 분석

정옥희 ( Ok Hee Jeong ) 한국무용예술학회 2013 무용예술학연구 Vol.45 No.6

It is estimated that 26 ballet staffing firms for pre-schoolers have popped up between 1997-2004 in Korea and sent their lecturers to various culture centers, leading to the boom of ballet as a liberal education. Intrigued by the popularity of its subgenre “English ballet”, this study analyzes the pedagogical rationale and methodology of pre-school English ballet programs in Korea. he research subject is “Julie’s English Ballet”, one of the most popular English ballet franchise staffing firms in Korea. Julie’s English ballet provides standardized classes all over country that are structured with supplementary textbooks, CDs, props, and teacher’s guide. The company advertises that through English ballet program, students can “learn English phonology and ballet movements during the critical period,” which reveals its pedagogical rationales. First, by mentioning “critical period,” it advocates the Critical Period Theory, suggested by Wilder Panfield, that the younger, the better one acquires a language. Second, the company suggests phonology as its methodological rationale, while the study argues that total Physical Response theory better fits the characteristics of English ballet program that emphasizes repeatability of both ballet and English-learning. Third, by combining English and ballet, English ballet is geared toward English Immersion Education, or Content-Based Learning in English. Conducting an ethnographic research on Julie’s English ballet, the research analyzed its curricular structure, characteristics, and pedagogical methodologies. According to the Content-Based Instruction model by Myriam Met (1999), Julie’s English Ballet seems content-driven rather than language-driven, in that dance-majored instructors teach it as a part of ballet programs. However, as English ballet’s curricular contents is divided into ballet and creative movement, the curricular imbalance between them results in the weakening of its pedagogical goals. Ballet is curtailed and marginalized while creative movement is emphasized. As lots of time and energy are spent on topic-based activities of creative movement, the whole class is transformed to be “English through Ballet (language-driven)” rather than “English for Ballet (content-driven).” eaching English AND ballet at the same time inevitably accompanies sacrifice of the educational effect. English ballet offers a learning context that is meaningful and interactive enough to help students learn English more easily and naturally. However, it has a danger to provide insufficient ballet experience to be considered as a meaningful ballet class, which is marginalized by English and creative movement. In that sense, while praising its achievement and potential to invigorate job market for dancers and cultivate ballet audiences, the dance field should also beware of the possibility that ballet in English ballet only remains as the sugarcoat of the pressure for English in the Korean society.

발레리나의 드러난 신체와 은폐된 권력에 대한 고찰- 프랑스 낭만발레와 미국 신고전주의발레를 중심으로 -

나수진 한양대학교 우리춤연구소 2018 우리춤과 과학기술 Vol.14 No.4

Dances before ballet considered the form and meaning of dance as important, not on 'how' the dancing body should be. However, as the ballet began and developed, the perception of the body has changed and the body has been standardized accordingly. This study intends to discuss the new phenomenon of standardization of body in ballet by focusing on this and examine the nature of establishment. Therefore, romantic ballet from France in 19th century, which was the movement and development of ballet, and neoclassical ballet from the United States in 20th century were considered as the subject of analysis. The causes that affected the standardization of the body in this period were examined in political·economic perspective, educational perspective as the transmission of ballet, and cultural perspective with the viewpoint of choreographer and critic. In both cases, the new standard of ballerina's body has developed, but there are significant differences depending on the period and social atmosphere. In case of romantic ballet, the delicate and frail body and soft feminine beauty were emphasized in response to bourgeoisie's tastes, who were the ruling class at that time, while neoclassical ballet of the United States stressed long and straight body with fast and powerful image, symbolizing the development of capitalism in the 20th century. However, both ballets actively engaged in the physical standardization of ballerinas in order to accommodate the needs of enjoying class in terms of its education, planning and choreograph. In consequence, as dancing has transformed from the public art of tradition and festival into the new concept of art as exhibition and display, a new form of the dancer's body has emerged in accordance with the power and viewpoint of the class enjoying it. Ballet may have created a new perception and beauty of the dancer's body, but on the other hand, the body was excessively constrained according to the viewpoint and power, providing the new beginning of the modern dance.