무용미학의 논의를 위한 들뢰즈(G. Deleuze)사상의 수용 가능성 - Pina Bausch 작품에 나타난 ‘기관 없는 신체’를 중심으로 -

김말복,나일화 한국무용예술학회 2008 무용예술학연구 Vol.25 No.-

This study aims to propose grounds for identifying the meaning of a temporality and momentary movement as well as the subversion of a negative bodily trait through the ideology of Gilles Deleuze, and to discover the probability of accepting them in the discussion of dance aesthetics. The acceptance of the ideology of Deleuze in the discussion of dance aesthetics implies that art, philosophy, and science are poised in equivalent positions within his ideology. Also, the subversion of Platonism, Spinoza’s immanence, and Nietzsche’s univocity all of which form a main axis of the philosophy of Deleuze, may be an important topic also in the aesthetic discussion of dance. The study pursued a discussion focusing on the concept of ‘Body without Organs’ by Deleuze, shown in the work of Pina Bausch. Deleuze’s ‘Body without Organs’ stemmed from Artaud, a famous playwright of the theater of cruelty. Pina Bausch also expressed the theater of cruelty of Artaud in his works; thus, they are mutually related. Moreover, both Deleuze and Pina Bausch share the same background of times, namely, post-modernism, and they have in common compositions and choreographic characteristics. Preceding studies that have discussed dancing art by applying the ideology of Deleuze haven’t been actively pursued relative to other art areas. Furthermore, the dance area also has merely introduced the theory of Deleuze, or has made a superficial initial application of the theory. However, this study is meaningful as it revealed the correlation between the ideology of Deleuze and dance art, selectively introduced his concept acceptable to dancing aesthetics, and advanced discussions in terms of the choreographic process and composition of dancing works, and expression of movements based on the research results.

무용수의 몸

김말복 한국무용예술학회 2005 무용예술학연구 Vol.15 No.-

현상학적 무용해석의 과제

김말복 이화여자대학교 한국문화연구원 1993 韓國文化硏究院 論叢 Vol.62 No.1

This paper deals with the phenomenological approach to the art of dance by the well-known dance scholar Maxine Sheets. Towards that purpose, Chapter 1 explains briefly the phenomenology of Maurice Merleau-Ponty, who may be regarded as the driving force behind the phenomenological movement of the 20th century and was also a prominent philosopher in his own right. Regrettably, an in-depth analysis of his profound philosophy can not be given, and only those parts which are deemed as having relevance to the art of dance in light of Sheets phenomenological attempt have been mentioned. The ensuing chapter summarizes such attempt of Sheets based on her main book, "The Phenomenology of Dance", while looking into two other essays by her which were aimed at clarifying her thoughts in the aforementioned book. Sheets train of thoughts follows that of Merleau-Ponty, and thus a comparison between her thinking and Merleau-Pontys theory of art was also made. The third and final chapter lists the problems of Sheets thoughts and the issues which they give rise to as perceived by this writer. Therefore, the purpose of this paper lies in providing some clues to the direction of future development of her thoughts rather than in being a critical evaluation in the strict sense of the word. The method of research herewith will be in the first part to explain phenomenology based on Merleau-Pontys main book "Phenomenology of Perception" and some changes in thought which surfaced in the ontological philosophy of his latter years. An explanation of Sheets application of Merleau-Pontys thoughts to the discussion of dance will be given in the next chapter along with a review of how her phenomenological theory of dance is similar to that of Merleau-Ponty. It may seem that the first chapters sub-sections on ⅰ) the body-consciousness and its impact on traditional physical concepts and ⅱ) dialectics, duality, and dimensionality, and the second chapters sub-section concerning dance as a special art form may deviate from the main focus of this papers discussion. But the intent of this writer in including them is to explain the philosophical background of art, the intrinsic differences in content between ontological and art theories, and how these differences manifest themselves particularly in the art of dance. This writer would like to find the significance of this paper in explaining the structure and value of the phenomenological research method which has brought about new possibilities for dance as an academic field, while pointing out the errors in Sheets application of phenomenology and the accompanying problems and issues which remain to be resolved.

춤을 사랑한 조선의 왕 - 효명세자

김말복 한국무용예술학회 2006 무용예술학연구 Vol.17 No.-

에드윈 덴비(Edwin Denby)와 데보라 조윗(Deborah Jowitt)의 평문비교연구*

김말복 한국무용예술학회 2009 무용예술학연구 Vol.26 No.-

This study aims to analyze the critical methodologies of Edwin Denby and Deborah Jowitt. Together they represent the American dance criticism of the 20th century. Edwin Denby made dance criticism a professional critical writing not the subsidiaries to music criticism. Not like John Martin who started his full time dance critic's career writing on music, Denby started his critic's career writing on dance with insider's knowledge and understanding in dance. With his experience as dancer/choreographer and his love for dance made him to establish the academic methodology for dance criticism. The critical style and viewpoint of Denby influenced the next generation of Americian dance critic. Deborah Jowitt succeeded Denby's spirit of dance writing style most among the New York School which is practically a group of Denby's followers. Their essays in criticism Dance Writings(1986) of Denby and the Dance Beat(1977) of Jowitt are chosen as the subject for the study. From these, 20 most characteristic essays on ballet and modern dance works are selected respectively to study the structure of their writings and the characteristics of their critical terms used in describing dance movements and showing their standards of value judgements on dance works. Study results show they have similar writing structure and a great emphasis on movement description. The most of their writings were spent on describing the details and the movement qualities of dances they saw. Both Denby and Jowitt have an exceptional talent in describing dance movements. Also they showed a tendency of trying to interpret the meaning of the movements with modern dance works. But their overall style of writings were differed in the wording and colors of the texts. Denby's writing is very articulate and beautiful with poetic symbols and literary elegance. His critical terms are cultivated and classic with high taste. Jowitt's writing has a characteristic of colloquial style. And she often starts her writing like talking to her friends sitting next to her. She was good in expressing the dynamics of the modern dance movements. Jowitt used more terms in movement description and value judgement than Denby. Also she used vocabularies distinctively conveying the momentum and the sensations of the movement. This writer thinks the secret of their excellent dance writing lies in their love for dance and their effort of trying to understand dance and the attitude of sincere writing.

컨템포러리 댄스의 몸

김말복 한국무용예술학회 2011 무용예술학연구 Vol.34 No.-

This study examines different modes of dancer’s body featured in current contemporary dance. ‘Contemporary’ is a tricky word to define. The term “contemporary dance” is sometimes used to describe dance that is not classical jazz or traditional folk/cultural dance. But contemporary dance is used here as the current world dance happening in the span of 20~30 years up to now. Through the survey of various functions and styles of dancer’s body in contemporary dance, this study aims to understand the changing environment of world dance in the 21st century. There are many ways that dancer’s body can be portrayed or used in dance. Dancer’s body can be used when a choreographer is trying to represent something or to convey his or her ideas to the viewers. And dancer’s body can be used as the medium to express emotions or feelings of choreographer. Dancer’s body and movement can be designed to portray abstract images other than human forms or meanings. After post modern dance, ordinary body that is not trained technically and daily movement that is not dancy appeared in contemporary dance. They are used as the experimental representation of the choreographer’s ideas. They were chosen to raise a question to the traditional condition of dance existence. Also there is a formalist dance style which takes formal beauty of dancer’s body and movement as the prime value of dance. These various modes of presenting dancer’s body covers from traditional way of dance existence to current avant garde style dance. From these findings, the most outstanding characteristics of contemporary dance are discussed and explained in the end as a conclusion. The most characteristic feature of contemporary dance is that they have an open structure in its narrative and construction. For an instance, Twylar Tharp’s Catherine Wheel shows an open ended mosaic structure of telling the story of that piece. In this work, traditional linear structure of story telling are deconstructed and gathered in a new sensitive and deconceptualized way. Also Tanztheater and William Forsythe and Montalvo’s way of producing dances are discussed as an instance of showing the crossover tendencies and deconstruction of dance movement and stage space, and the convergence of dance genre, technique, media, culture and races happening in a current world dance scene.

몸과 춤

김말복 한국무용예술학회 2007 무용예술학연구 Vol.20 No.-

억압에서 해방으로: 춤과 몸

김말복 한국무용예술학회 2005 무용예술학연구 Vol.16 No.-

Nowadays academic discourses on body are the vogue in various research fields. But the seriousness and the richness of the body centered thinking really started since the development of body culture, which this writer named to explain the physical cultural phenomena of the 20th century.Therefore this paper followed the development of the body culture in Europe and America from the end of the nineteenth century to the first half of the twentieth century. And compared that with the introduction of body culture to korea through the influx of the modern civilization of the west in the early twentieth century. Also this paper explained ballet as the first and the main instrument of codifying the civilized body gestures. The physical characteristics and the body centered trend of the twentieth century culture were explained with the wild enthusiasm for gymnastics and body exercise, jazz and spectacle dance and the popular dance fever in and out of the musicals and movies. Also to understand the shock of the body as the sexual object and the western paradigm of body in korea, the traditional confucian concept of body and the method of cultivating one?s mind and body were looked into and this writer named the literary characteristics of the Chosun dynasty?s cultural atmosphere as the ?anti-body culture?.This study pointed out that the modernization of the korean culture in the early twentieth century were deeply influenced by and developed with the western paradigm of body and beauty. Also this paper examined the indexes of ?the liberated body?, that is. healthy, young, supple and attractive body in modern society. And in the post modern era, human speaks through their body.

현대 춤의 디지털 미학 - 가상성과 상호작용성의 개념을 중심으로 -

김말복,이지선 한국무용예술학회 2008 무용예술학연구 Vol.24 No.-

The purpose of this study is to focus on the adaptation of digital technologies in the contemporary dance and clear how these technologies affect on dance from the media aesthetics’point of view. Many of contemporary dance use the digital technologies, and it implies not just a usage of new tool but a suggestion of new art concept. First, the virtuality of digital media causes dance lost a physical existence by changing the dance space from theater to cyberspace or laboratory circumstance. Because of the time and space characteristic in “yber” the digital dance has a feature which is placed in interactive and limitlessly transformational network. And second, the digital media artworks promote interactivity between dancer and other medium. The movement data from the mechanical devices is visualized as a new movement type or transformed to other sources like music and lighting. This interactivity brings a new concept of choreography. The traditional way already blurred by improvisation or dancer’ participation, the concept of choreography in digital media work has more broaden. Open text goes beyond prefixed boundaries on the possibility of multiple interpretations as well on the favor of audience’ active participation and mingling with other works in online. The more works keep pursue the new possibilities through the interchanging, interconnection and collective creation, the more dance concept has a tendency to the hypertext. So, dance in cyberspace is no more a genre type which has aura as an original ephemeral artwork but a matrix which has a ubiquity in internet network, an intertexuality and hypertexuality with other genres. In conclusion, rather than a one-way spectacle, a choreographical concept in digital dance suggests an interative event or happening, it is proposed as a simulation like game or animation. Hereby, dance has reestablished an original ritual function, recreational participatory communication system which has limiting as theater art.

얀무자의 예술적 정신세계와 인간적 매력을 보고

김말복 한국춤문화자료원 2000 춤과 지성 Vol.1 No.-