창작 발레 <심청>에 관한 연구 - 이저(W, Iser)의 독자반응비평이론을 중심으로 -

배금연 한양대학교 우리춤연구소 2020 우리춤과 과학기술 Vol.16 No.4

현대 예술사조의 특징 중 하나는 예술에서 수용자의 적극적 참여를 유도하고 옹호한다는 점이다. 이저의 독자반응비평 이론은 이러한 수용자 중심적 관점을 부각한 수용미학적 견해로 기존의 창작자 혹은 텍스트 중심적 수용미학 이론과 차별되는 전환적인 견해이다. 발레 <심청>은 한국창작 발레이면서도 세계적으로 소비되고 향유되고 있는 문화상품이다. 작품 속에 동서양의 문화가 공존하고 있어 수용자의 수용방식에 따라 해석과 의미부여가 다양하게 표현 가능한 작품이다. 이에 수용자 중심적 수용미학적 견해인 이저의 독자반응비평 이론에 발레 <심청>을 접목시켜 분석하는 작업은 의미 있다고 사료되어, 본 연구에서는 무용텍스트로서의 <심청>과 이저의 독자반응비평 이론을 함께 고찰해 보았다. 먼저 독자반응비평 이론에서 텍스트가 수용자의 수용행위를 통해 구체화 되어 작품이 되는 과정을 살펴보면 무용텍스트는 생산자인 대본가, 안무가, 연출가에 의해 창작되어 무대에서 무용수의 움직임을 통해 현장에서 전달되는 특징이 있다. 수용자는 안무가가 전달하려는 혹은 의미부여가 가능한 암시된 의도 등을 구체화시키는 능동적인 역할을 하는데 이것이 생산자-텍스트-수용자간 공동유희의 과정에 해당한다. 유희과정을 거친 텍스트는 작품이 된다. 수용미학적 구조에 관한 이저의 이론을 한국창작 발레 <심청>에 적용해보면 심청은 무용텍스트에 해당하고 창작자(안무가, 대본가, 연출가)는 생산자에, 무용수는 공연의 협력자이자 또 다른 수용자, 공연을 관람하는 관객과 평론가는 수용자에 해당한다. 이들은 상호간 자유로운 의사소통으로 텍스트를 구체화시키고 그 결과 <심청>은 작품이 된다. 한편 텍스트가 구체화된 작품은 다시 다음 생산자의 또 다른 텍스트창작에 영향을 주어 새로운 수용텍스트를 만드는 순환적 의사소통의 구조를 갖는다. 발레<심청> 역시 이러한 과정을 여러 차례 겪었고 그 결과 창작 이후로 성공적인 개작이 현재까지 이어지고 있다. 하나의 텍스트가 작품으로 구체화 된 후 소멸하지 않고 구체화 과정을 반복하여 끝없이 수정 보완되어 공연무대에 올려지고 있는 좋은 예가 된 것이다. 무용텍스트로서 발레 <심청>이 가지는 가치를 창조적, 심미적, 교육적, 문화적 가치의 네 가지로 나누어 볼 수 있다. 특히 문화적 가치에 있어서 주목할 사실은 발레의 종주국인 프랑스 ‘팔레 데 콩그레 드 파리(Palais des Congres de Paris)’에 초청되어(2012) 성황리에 공연을 마치는 등 한국발레의 해외 성공 사례가 되고 있다는 점이다. 초연 이후 현재까지 끊임없이 수정 보완하는 열정, 관객의 변함없는 호응은 발레 <심청>을 더욱 완성도 높은 작품으로 만들어 주고 있다. 현대의 예술 패러다임은 20C 초반 이래로 다양하게 나타나고 있다. 실증주의, 실존주의, 신비평주의 등을 거쳐 구조주의, 모더니즘, 해체주의, 포스트모더니즘, 탈해체주의 등 여러 사조들이 뒤얽혀 존재하고 있고 그에 따라 예술작품에 대한 새로운 수요도 다양하게 증가하고 있다. 공연환경은 급변하고 있고 관객의 기대나 호응 역시 다양하게 변하고 있으며 평론가들의 비평도 이에 따라 달라지고 있다. 발레 <심청>이 현재와 같은 호평 속에서 공연을 계속 이어가고 생명력을 가진 작품으로 남기 위해서는 급변하는 예술사조와 공연환경, 공연에 대해 달라지는 기대를 앞으로 어떻게 수용하여 표현하는지가 남은 과제라 할 것이다. 앞으로도 동서양문화의 훌륭한 조화의 상징적인 작품으로 명성을 이어가기를 기대한다. One of the special features of modern art trends is the point that the aggressive participation by the consumers is induced and supported in art. As the acceptance aesthetics view that carved in relief such a consumer-centered viewpoint, the theory of reader response criticism of Iser is a converted view that is differentiated from the preexistent creator- or text-centered acceptance aesthetics theory. The ballet ‘Shimcheong’ is a cultural product that has been consumed and enjoyed in the world while being a Korean creative ballet at the same time, too. Because the cultures of the East and the West coexist within the work of art, it is a work of art that can diversely express the interpretations and the meaning givings according to the acceptance method of the consumer. As such, because it had been thought that the work of analyzing by grafting the ballet ‘Shimcheong’ onto the theory of reader response criticism of Iser, which is a consumer-centered acceptance aesthetics view, is meaningful, in this research, ‘Shimcheong’, as a dance text, and the theory of reader response criticism of Iser had been considered together. Firstly, if I take a look at the process in which the text becomes the work of art after being concretized through the act of acceptance of the consumer in the theory of reader response criticism, the dance text has the special feature of being delivered at the site through the movements of the dancers on the stage after being created by the script writer, the choreographer, and the director, who are the producers. It has a difference from the texts in the other genres with regard to the point that the empathy that is felt by the consumer while viewing the performance and the things that were stored with the memories and the recollections after viewing the performance are made into an acceptance text. In concretizing a dance text that is delivered mainly with the visual images, the aggressive interaction between the producer and the consumer with the text as the medium is important. The consumer plays the proactive role of freely finding and concretizing, by himself or herself, the intention that is intended to be delivered by the choreographer, the suggested intention that can give a meaning although it was not clearly stated, or the others of the like. This pertains to the process of the joint play between the producer, the text, and the consumer. A text that had gone through the process of the play becomes a work of art. The concept of ‘text’ of Iser is a fictional text. And, due to the fictionality, the spaces of uncertainty, blank, etc. get created. As a phenomenological concept, while being inherent in the text, the consumer is an existence who gets regulated by the text. The consumer plays the role of filling the blank in the fictional text through the process of acceptance within his or her awareness. And, at this time, the uncertainty of the text, too, gets around to having a clear and definite meaning. As a result of the communication with the producer having taken place by being repeated through the proactive participation by the consumer, the text becomes a work of art after going through the process of acceptance. If I try applying the theory of Iser regarding the acceptance aesthetics structure to the Korean creative ballet ‘Shimcheong’, Shimcheong pertains to a dance text, the creators (The choreographer, the script writer, and the director) pertain to the producers, the dancers pertain to the cooperators of the performance and the yet other consumers, and the audience and the critics viewing the performance pertain to the consumers. They concretize the text through the free, mutual communication, and, as a result, ‘Shimcheong’ becomes a work of art. Meanwhile, by giving an influence to yet another text creation by the next producer again, the work of art of which the text had been concretized gets around to having the structure of circular communication that makes a new acceptance text. The ballet ‘Shimcheong’ had experienced such a process many times. And, as a result, ever since the creation, the successful remakes have been continuing until the present. It had become a good example in which, after having been concretized as a work of art, without becoming extinct, by repeating the concretization process, by being revised and supplemented endlessly, one text has been put up on the performance stage. The values that are possessed by the ballet ‘Shimcheong’, as a dance text, can be divided into four kinds. By changing the genre of the literature text, which is a traditional novel, into the dance text, it had been made so that the performance is possible. And, by not damaging the form and the choreography of the ballet while saving the Korean sentiment, too, the possession of the universality and the accessibility as a public art pertains to the creative value that is possessed by ‘himcheong’. All of the main organizations of the classical ballet, including the grand pas de deux and the divertissement, which are the typical ballet performances that are worthy of watching, the pas d'action, which induces the following of the development of the drama, etc., are inside. And each part gets delivered while having the life force. And the point that the level of completion as a ballet performance had been shown while saving the Korean things, including the clothes, the music, the choreography, etc., just the way they had been, can be evaluated as an aesthetic value. ‘himcheong’ has been delivering the humanity of ‘ilial duty’ through a drama-consistent message. Here, the traditional, moral customs, too, of Korea, in which the ordinary people coexist and share the emotions with the neighbors, have been expressed in a natural way. Although filial duty is a moral canon that is emphasized in the Orient, despite being somewhat of a children's story and despite the somewhat exaggerated setup, while the audiences in the diverse cultural spheres have been watching the performance, the fact that the humanity- including filial duty, altruism, etc.- had been sympathized with means that 'Shimcheong' had delivered an educational value, too. Regarding 'Shimcheong', which has been performed for a long time in over 26 countries of the world for over 30 years ever since the premiere in 1986, the following points have been continuously receiving the favorable comments not only in Korea, but, also, at many places in the world: The point that it had a traditional story in Korea as the subject matter; The point that there had been a lot of participation by foreigners in the creation process; The point that a foreign dancer had been in charge of, and had acted for, a Korean character; The point that the traditional dance and the ballet had achieved a harmony; The point that the Korean culture and tradition had been represented well through the clothes, the music, the background, etc.; And the others of the like. As an excellent, intangible asset of the Korean ballet circle, the cultural value has been emitted. It has been an overseas, successful case example of Korean ballet, including successfully finishing a performance after being invited (2012) to Palais des Congres de Paris in France, which is the suzerain of ballet, and the others of the like. The passion of unceasingly revising and supplementing and the unchanging positive response of the audience ever since the premiere until the present have been making the ballet 'Shimcheong' into a work of art that has an even higher level of completion. The art paradigm of modernity has been appearing diversely ever since the early phase of the 20th century. By going through positivism, existentialism, new criticism, etc., the many thought trends, including structuralism, modernism, deconstruction, postmodernism, deconstructionism, etc. have been existing by being entangled. And, according to this, the new demand, too, regarding the works of art has been increasing diversely. The performance environment has been changing rapidly. And the expectation and the positive response of the audience have been changing diversely, too. And the criticisms, too, of the critics have been becoming different according to this. In order for the ballet 'Shimcheong' to continue the performance continuously with the favorable reviews like the present and remain as a work of art that has the life force, it can be said that how to accept and express the rapidly changing artistic thought trends and performance environments and the expectation that becomes different regarding the performance in the future is the remaining task. I have the high expectation that it will continue the fame as a symbolic work of art with the excellent harmony of the cultures of the East and the West in the future, too.

수용사적 관점에서 고찰한 «백조의 호수(Swan Lake)»

배금연 한국무용교육학회 2020 韓國舞踊敎育學會誌 Vol.31 No.3

This research considers the meaning and the role that are possessed by «Swan Lake» through the viewpoint of the history of the acceptance of ballet through the process of the adaption. Regarding the romanticism ballet of Europe, which had prevailed until the 18th century, by facing the irreversible period of decline, by crossing to Russia in the 19th century, it gets reborn as the classical ballet. It can be said that «Swan Lake» is the quintessence of the Russian, classical ballet. And, regarding the history of the acceptance of ballet, which is continued from the romanticism to the classicism, it possesses a very important meaning. Regarding «Swan Lake», which had been premiered through the direction by Raisinger, after failing with the box office success and the favorable review, it gets made again as the top version in history truly to its name by Petifa and Ivanov. Although it ends with a tragedy, the summary that seems like one beautiful and sad fairy tale and the choreography by the dancers that is splendid and of which the level of the difficulty is high had aroused the sympathy by greatly appealing to the audiences and the critics of the same era. Thanks to such a favorable response, the Petifa-Ivanov version has been performed the most by being repeated until now, too. Afterwards, the choreographers of the modern ballet who are equipped with not only the ballet but, also, the modern dance, the jazz, etc. appear. They are Nureyev, Balanchine, Matthew Vaughn, Mats Ek, etc. «Swan Lake», which had been accommodated in the modern ballet, had changed the classical plot that was simple and clear into a drama that deals with even the psychology of the human nature that is complicated, dark, and realistic. The choreographies, also, had been diversified into the completely different organizations and movements according to the era and the individuality of each choreographer. And, according to this, the stage devices and the background scenes, too, had become different in a natural way. Without stopping at digesting the techniques, the abilities of the dancers, too, got around to reaching the surprising level of possessing even the ability to act that can express, in detail, the psychology of the protagonist who leads the drama. Although there had been somewhat of a confusion from the premiere, the only one artistic tool that had led «Swan Lake» without any change without being spoiled according to the era had been the music or, indeed, Tschaikovsky’ music. During the process, too, of even the elements that become the bases of the drama, including the plot, the choreography, etc., changing completely, his music has been to with «Swan Lake» until now, too, without changing still. It has become a coherent whole regarding which the work of art and the music cannot be separated mutually. Is this not because, regardless of the times, Tschaikovsky’ music has been bringing about the artistic inspiration that leads all of the choreographers to newly create «Swan Lake»? At the height, his music has become the unchanging background, itself, of «Swan Lake». «Swan Lake», in the history of the acceptance of ballet, which had been taken a look at until now, has been growing and developing greatly while experiencing the diverse and innovative changes. I am expressing my high praise to all of the choreographers, dancers, and audiences who had made this possible by transcending the times. Regarding the ballet choreographers who had played the leading roles in the history of the acceptance, in the process of adapting «Swan Lake», in a natural way, they got around to encountering an arts trend (not only the dance) of the same era. And they must have used this as a tool for making the results of the new creations. Hence, it is thought that it can be said that the process of the acceptance of «Swan Lake» is a process of the acceptance of the diverse artistic trends according to the era. The continuous appearance o...

일반논문 : 수용자(독자)의 작품해석이 현대 발레에 미친 영향

배금연 ( Keum Yun Bae ) 한국공연문화학회 (구,한국고전희곡학회) 2010 공연문화연구 Vol.0 No.21

본 연구는 수용미학이 제기한 독자(수용자)이론을 바탕으로 수용자(독자)의 작품해석이 현대 발레 즉 발레 뤼스(Ballet Russe)에 미친 영향을 살펴보는데 있다. 수용미학적 입장에서의 독자는 우선 텍스트에 얽혀 짜여 잇는 구조에 동화 혹은 반응하면서 텍스트가 담고 있는 의미내용을 포착한다. 그러나 이때 독자는 작가의 의도나 의미를 찾아내기 위한 것이 아닌 텍스트 구조와의 교류를 통한 공동유희를 위한 것이다. 그 결과 상이한 많은 작품해석이 나타날 수 있고 이러한 작업을 "문학작품의 구체화"라 부른다. 즉 독자가 문학 작품을 읽고 이해하고 해석하는 능동적인 수용행위를 통해 텍스트를 구체화하는 것이다. 무용작품에 있어서 수용자(독자)이란 무용작품을 수용하는 주체이자 창조적인 참여자이며 공개되어지는 무용을 수동적으로 관람하는 소비자가 아니라 능동적으로 주목, 가담하고 반응하는 적극적 존재이다. 동일한 작품이라도 수용자는 사회의 일원으로 주어진 메시지를 무조건 받아들이는 것이 아니라 나름대로 선별, 접촉하고 지각하는 존재이다. 따라서 동일한 메시지도 수용자(독자)의 성향에 따라 의미가 달라지는 것이다. 일반적으로 수용자는 무용가와 동일한 정감을 대리 체험한다고 한다. 그러나 무용가와 동일한 정감을 체험할 수는 없다. 발레 뤼스는 고전 발레의 절정기를 지난 러시아 발레를 당시 예술적으로 몰락한 유럽무용계에 소개하고자 하는 동기를 지녔고, 당시 러시아 제국 발레의 수석무용수였던 미쉘 포킨(Michel Fokine)의 새로운 발레 안무개혁과 이를 지지하는 상업적 경영자 세르게이 디아길레프(Sergei Diaghilev)와의 만남을 통해 대성공을 이룰 수 있었다. 연구의 결과는 다음과 같다. 첫째, 사회문화적 관점에서의 수용은 러시아 혁명과 제 1차 세계대전으로 활동의 무대가 서방세계로 제한하기도하고 부추긴 요소도 있다. 둘째, 장르와 스타일 관점에서의 수용은 아방가르드적 예술정신을 융합시킴으로써 당시 서구 관객들에게 발레를 새롭게 인식하는 계기가 되었으며, 러시아의 민속적 스타일과 스페인 스타일 등 고정관념에서 벗어나 끊임없이 새로운 발레를 추구하였다. 셋째, 맥락적 관점에서의 수용은 20세기 초 전통과 대립을 전제로 하는 모더니즘의 핵심적인 특징이 잘 나타나고 있으며 여러 예술가 동료들과 함께 참된 예술을 창조하고자 서로의 의견을 모으고 상의하며 작품들을 창조하기에 이르며 진정한 예술로서 널리 인정받고 명성을 이어올 수 있었던 것이다. 현대 발레에 미친 영향은 먼저 창조자의 관점으로 발레 뤼스를 만들고 흥행시킨 디아길레프가 `최고의 춤`을 지향하는 것이 세계 발레의 재건이라는 큰 의미를 가지고 있었음 알 수 있었다. 현대 발레 작품의 구체화는 발레 뤼스의 안무자 포킨, 니진스키, 마씬느, 니진스카, 발란신이 작품의 구체화를 어떻게 표현했는지 살펴보았으며 오늘날 우리가 살고 있는 시대의 춤을 연결하는 고리가 되었으며 문화적 요소의 융합을 시도함으로써 후세에 하나의 예술방향으로 제시했다. 이 모든 것은 협동 작업을 통해 바그너식 종합예술이 되어 20세기 춤의 역사에 남긴 파장으로 엄청난 것이다. 따라서 우리는 세계 춤의 변화와 미학적 추구에 맞추어서 혁신적인 시도를 계속함으로써 현대 발레의 한 차원 수준 높은 문화예술을 구현 할 수 있도록 보다 나은 여건을 만들어나가는 것이 무용가들에게 주어진 과제라 사료된다. This study aims to investigate what effects modern ballet received and made through the embodiment of works from the readers` perspective, based on Iser`s Theory of Reading raised by Reception Aesthetics. In particular, Ballet Russe, one of the representative figures of early modern ballet is constantly loved by meeting readers` needs giving meaning to works because various stories are read by readers into their hearts, and coexist through emotional ties with readers. Here are the results of this study. First, from social and cultural perspectives, reception made ballet limited to the western world or promoted during the Russian revolution and the 1stWorld War. Second, from the perspectives of genre and style, reception made ballet harmonize with the artistic spirit of avant-garde through, which led to refresh the western audience`s understanding of ballet, bringing them to constantly seek a new ballet getting out of those stereotypes such as the Russian national style and the Spanish style. Third, from the contextual perspective, reception well reflects key characteristics of modernism with tradition and confrontation as presuppositions in the early 20th century, which led artists to discuss with each other to create true arts and produce creative works, bringing ballet with a broad recognition as a true art and prestige. Effect of reception on modern ballet is the revival of ballet worldwide, which has great significance in that it made Diaghilev seek `the best dance`, who helped foster and promote Ballet Russe from the creator`s perspective. The embodiment of modern ballet served as a link to contemporary dances and provided an artistic direction for the future by attempting the harmony of cultural elements in works of Ballet Russe`s choreographers, Fokin, Nijinsky, Massine, and Balanchine. All of these led ballet to Wagnerian synthetic art through cooperation, and had a great impact on the history of dance in the 20thcentury. I think that it is a task for dancers to continue an innovative attempt, adapting themselves to a change in world dances and aesthetic pursuit, and to form better environments for a higher level of embodiment of cultural arts.

인문,사회과학 논문 : Neo-Classicism George Balanchine 발레의 기교적 특이성에 관한 연구

배금연 ( Keum Yun Bae ) 대한무용학회 2002 대한무용학회논문집 Vol.34 No.-

현상학적 접근에서 본 무용의 특성에 관한 연구

배금연 ( Keum Yun Bae ) 대한무용학회 2004 대한무용학회논문집 Vol.39 No.-

수용미학 관점에서 본 <지젤(Giselle)> 텍스트의 의미

배금연 ( Keum Yun Bae ) 대한무용학회 2007 대한무용학회논문집 Vol.51 No.-

A basic study of acceptable aesthetics mentioned in the study is being carried out in the science of literature, and there has been no study of acceptable aesthetics considering original characteristic of dancing arts so far. So the research might have errors in analyzing and interpreting the works. Historical criticism has focused on the historical and social context due to acceptable aesthetics and formalistic criticism has been obsessed with the text itself. To overcome these two criticism and to make comprehensive analysis including text, history and even audience, it seems a close examination on difference and sameness between literary text and dancing text is necessary. <Giselle> was newly borne with thoughts and emotions of current era, and became the art of medium by symbolically portraying the vision of transcending space through the imagination of creator. In particular, the meaning of text is a refined expression of dancer`s desire in his life such as social cultural experience, environment and context. The result of analysis applying the theory of acceptable aesthetics on the text of <Giselle> is as follows. First, the analysis of narrative structure shows that the text of <Giselle> integrated supernatural elements and local elements with the logic of drama, and created many beauties encouraging visual fantasy by attaching importance to the liberty of thinking and feeling in works of romantic structure. Second, the analysis of characters in the works shows that all subjects are pursuing their objects. Giselle is also pursuing her object which is Albrecht. Hilarion and Bathilde are obstacles who interfere Giselle`s pursuit of object, while Wlafrid and Willy is helping her to achieve what she wants. Myrta is a sender who helps the subject meet the object and the receiver of benefit is Giselle herself. Third, according to the analysis of the meaning of creator, the theme of the works is idealistic due to supernatural and mysterious content and form, and the work has great lyricism by liberalizing imagination and inspiration. It has technical change and development through the particular ways of expression and trend of work. Thanks to this work the ballet became popular art from the noble art. Fourth, from the meaning of accepter, Giselle tried to console herself from romantic fancy whenever she failed to have feeling of mental freedom and she tried to escape from miserable life and reality, and find fanciful and passionate life full of emotion and desire. This fanciful life is expressed as strong obsession with nostalgia for the past, mystery, exotic and supernatural things. Fifth, the meaning of each dancer`s acceptance shows the greatness of <Giselle> as it keeps being played on the stage with different interpretation and is the one of greatest classical works as well. In this point of view, the acceptable aesthetics study of ballet works enables new analysis and evaluation of aesthetic value based on the contextual relationships between contemplator(dancer) and contemplator(audience) or to their new interpretation. It can be considered a good methodology complying to the trend of the arts in the 21st century.

<봄의 제전>의 수용된 모더니즘미학

배금연 ( Keum Yeun Bae ) 대한무용학회 2008 대한무용학회논문집 Vol.57 No.-

외식 창업자의 심리적 특성, 창업환경 그리고 경영관리가 창업성과에 미치는 영향

김의근(Kim Eui-Keun),배금연(Bae Keum-Yeon) 한국관광레저학회 2010 관광레저연구 Vol.22 No.2

Bethesda Classification에 의거한 갑상선 세침흡인 검사 결과 분석 및 Atypical Cells of Undetermined Significance의 임상적 의의에 대한 고찰

장정택,김광민,박준범,배금석,조미연<SUP>1<.SUP>,강성준,Joung-teak Jang,Kwang-Min Kim,Joon- Beom Park,Keum-Seok Bae,Mee-Yon Cho,<SUP>1<.SUP> and Sung-Joon Kang 대한갑상선-내분비외과학회 2010 The Koreran journal of Endocrine Surgery Vol.10 No.4