창극 안무의 기능과 변화-창극 <수궁가>Mr. Rabbit and the Dragon King을 중심으로-

이현주 ( Hyun Joo Lee ) 판소리학회 2012 판소리연구 Vol.33 No.-

The choreography in traditional musical performances in Korea, including Changgeuk, is never recorded in any sources, despite its possible academic significance. There are always dancers, but there are almost no written guideline to the dancing, so it became a tradition to always create a new set of choreography for each performances. This tradition formed a barrier between the singers and the dancers. This paper first aims to explain the evolving role of choreography throughout the history of Changgeuk, and to see a new possibility of evolution that was shown in <Sugungga>. The first chapter of the analysis is Neorumsae, which is the word for the basic movements and choreography. The second chapter, Neorumsae of Pansori and the Choreography of Changgeuk, scanned through the artistic evolution of Changgeuk in our history. During the research, it was discovered that in a lot of cases, the dancing in Pansori mostly contained less skill, but a lot of dancers with flamboyant costumes, and also dancers were used where the actors could not afford to move in a length on the stage. The Third chapter, The Function and the Evolution of Changgeuk <Sugungga>-Mr. Rabbit and the Dragon King, I have recorded intention and the function of every choreography in the show. The characters whose choreography was analyzed were Madame Pansori, Mr. Rabbit, Turtle, The Dragon King, Tiger, ensemble and teh chorus for each scene. Analyzing and understanding the choreography in this work made a vision of a new possibility in traditional choreography. Tha choreography of The Function and the Evolution of Changgeuk <Sugungga> -Mr. Rabbit and the Dragon King,is unique in a way that the movements are simplified enough so that the singers can harmonize between the tempo of singing and dancing, and the choreography itself becomes an influence to the play as a whole, and so the show is not divided into two parts. Also, when the singers learn the tempo of both singing and dancing, they themselves reveal the meaning and the significance of choreography in traditional play. In order to recreate Changgeuk into a professional genre, it is important to make the choreography professional. The actores therefore need to train themselves to turn their musical trade into dance moves, into a choreography that is artistically complete on its own. The goal of any choreography in Changgeuk is not hurting the essense of it, yet expressing the sound of it to symbolic structure, so that the dances an the scenes become one.

한국 현대 춤 교육에 있어서 안무자 양성 교육 프로그램 현황분석 -고등교육기관 교과과정 분석을 중심으로-

손각중 ( Gak Jung Son ) 대한무용학회 2007 대한무용학회논문집 Vol.50 No.-

Primary purpose of this paper from basic point of view, "a creator in the true sense of the word" is trained through congenital ability of art and acquired education, is to analyze present condition of Korean education in train modern dance choreographer. In Korean dance education, choreography education is mostly trained in universities those are higher educational institutions and Conservatory. Furthermore short period training is operated in many organizations of art through training program and etc. Accordingly, second purposes of this paper are find strengths and weaknesses in Korean modern dance education through analyze present condition of modern dance education for train modern dance choreographer and propose a blueprint of choreography education. Therefore, this paper analyzes university`s curriculums which lessoned in department of dance and present condition of conservatory`s choreographer train program. In result, in Korean university curriculums spare much time for practical technique but inadequate for systematic choreography curriculums, whereas, theory of choreography such as method of choreography, study of choreography, impromptu, Labanotation and etc. are compulsory subjects and spare much time for choreography subjects in foreign universities, moreover they have systematical and various choreography subjects. These results are caused by standardization of majors in department of dance those are standardized 3 types in practical technique as Korean dance, modern dance and ballet. Sure, depend on rapidly changing cultural environment, increased interests in choreography and creation and increased curriculums which are related in compared with curriculums of the past. But, overall, lack of systematical education for choreography theory, method of choreography and method of dance recording. Especially, in Korean dance system insufficient of methods for record of choreography work and lack of effort for development and research. We are used to use video which is modern record system and partial choreography notes. For these reasons, Korean dance education system doesn`t have sufficient way to preserve superb works as original for future. And this system is caused by our lack of recognition of importance of choreography. Accordingly, university`s curriculums for improve choreography originality which is necessary for choreographer are should be aim to develop the "originality." Originality development needs diversity of theory education and humanity training. So, Korean dance education system concentrates upon developing programs for train professional choreographer who can develop and research of curriculums for support to develop originality and unite theory and practical technique.

코레오그래피(Choreography) 관련 신문 기사 현황 및 분석

권오승,박성진,이해준 한국체육과학회 2023 한국체육과학회지 Vol.32 No.4

This study aims to analyze current situation and newspaper articles regarding choreography. To that end, data was analyzed in the big data system BIGKINDS. Approximately 380 news articles from 44 newspapers published from February 2009 to April 2023, 14 years and 2 months, and 185 news articles excluding false/misleading articles were selected and classified into 6 analysis categories. First, in terms of period, 2019 issued the most articles about choreography in the conclusion of false/misleading articles. The year 2016 issued the most articles about choreography, except for false/misleading articles. Second, when it comes to newspaper outlets, Mail Business Newspaper published the most based on the quality and quantity of news articles about choreography without false/misleading articles. Third, among the choreography, categories, the category with the highest weight in both total articles and false/misleading articles was content. All in all, choreography has become an independent area of art rather than taking advantage of K-POP popularity. High-quality content creation and active promotion are more important than ever in choreography development.

뮤지컬 작품 특성에 따른 무용 안무교육이 나아갈 방향에 관한 연구

임란정 ( Lim Ran Jung ),손각중 ( Son Gak Jung ) 한국무용예술학회 2014 무용예술학연구 Vol.48 No.3

The purpose of this study is suggesting an educational direction for the dance choreography professionalism in musical works in consideration of the expanding musical market in Korea. For this, this study selected global and domestic musical works, in which dance element has heavy weight. After verifying the characteristics of dance movement in the works, this study suggests a systematic education program for professional dance choreography. The contents of this study are; (1) theoretical approach on dance in musical performance, (2) drawing of dance movement characteristics required for actual musical site analysis, and, (3) suggestion of choreography education program to secure professionalism in dance choreography used in musicals. The contents of theory education, practice education and creation education to be included in the professional choreography education for musical are suggested as following by considering above characteristics of choreography. Based on the education content above, following stepwise education course is suggested. The stepwise education course consists of basic step, intensification step and site adaptation step. At the basic step, students will receive theory education and practice education. In the intensification step, theory education, practice education and creation education can go on in parallel. At the site adaptation step, the education content suggested from the aspect of creation education will be given.

국내외 뮤지컬 전공학과 내 무용 교육 과정 분석을 통한 안무교육의 필요성⁺

전유정 ( Chon Yuchong ) 무용역사기록학회 2016 무용역사기록학 Vol.42 No.-

본 연구는 미국, 프랑스, 한국의 뮤지컬 전공 학과 내의 뮤지컬 무용 교육 안에서의 안무 교육 실태분석을 통해 뮤지컬 안에서 무용의 통합적인 역할 기능 활성화를 위해 창의적인 안무 교육의 필요성을 인식시키고자하는데 목적을 갖으며 기존의 미국 위주의 뮤지컬 자료에 한정 되어있던 자료들을 프랑스 뮤지컬 학교에서의 무용 교육 과정을 소개함으로써 프랑스 뮤지컬 안무 연구에 관심을 가진 연구자들에게 초기 연구 자료로 활용 될 수 있을 것이라 본다. 미국의 경우 무용 이론 수업과 더불어 체계적으로 뮤지컬에 필요한 무용 실기 수업(탭, 재즈, 발레, 현대무용)이 고급수준까지 이루어지고 있으며, 이들 실기를 바탕으로 창작 안무를 하여 작품을 제작하는 수업들도 진행을 하고 있어 학생들의 창의력 발휘에 큰 도움을 주고 있었다. 프랑스의 경우도 연극전문 예술 학교에서 이루어지고 있는 뮤지컬 무용 수업은 미국에 비해 전문 무용 테크닉 수업은 많지 않지만 무용 이론 수업과 함께 창작 무용 수업을 많이 시행하고 있었으며, 창작무용 수업을 바탕으로 다른 분야와의 협업작업으로 학생들 스스로 작품을 제작하는 수업에 많은 시간이 할애되고 있어 작품 안에서의 무용의 역할에 대한 충분한 인식을 할 수 있는 교육을 하고 있는 것을 알 수 있었다. 반면, 한국의 뮤지컬 전공을 하는 대학에서의 교과 내 무용 교육은 대체로 뮤지컬 무용 수업이 기존의 뮤지컬 작품 내의 레퍼토리 무용을 경험하는 정도의 수준으로 진행이 되고 있어 다양한 무용 장르의 체계적인 무용 수업을 바탕으로 창의적이고 통합적인 생각을 발현 할 수 있는 전문적인 뮤지컬 안무에 대한 교육은 이루어지고 있지 않는 것을 알 수 있다. 뮤지컬 제작에 필요한 전문 인력을 배출해 내고 있는 뮤지컬 전문 대학교육 교과정안에서의 무용 안무 수업은 연기, 노래, 춤 실력을 골고루 갖춘 배우를 양성함과 더불어 다른 분야와의 협업을 통해 창작 작품제작 기회를 자주 갖는 연계 프로그램 개발로 이어지는 뮤지컬 안무 통합 교육의 보강이 이루어져 장차 뮤지컬 연출가나 제작자가 될 인재들에게 뮤지컬에서 안무가 보조가 아닌 연기, 음악과 더불어 주체적인 역할을 해야 한다는 보편적 인식을 갖게 할 수 있다. 또한 이들 무용 안무 교육을 통해 극을 이해하고 안무를 창작 할 수 있는 안무가 배출도 기대할 수 있으므로 무용 안무 교육은 뮤지컬 교육과정에 반드시 필요하다고 본다. The purpose of this study was to examine the state of choreography education as part of musical dance education in music departments in the United States, France, and South Korea to spread awareness about the necessity of creative choreography education to expedite the revitalization of the inclusive functions of dance in musical departments. In the United States, not only the theoretical dance classes but also advanced practical dance courses (tap, jazz, ballet, and modern dance) necessary for musical education are offered in a systemized way. Furthermore, other courses give students who have taken the practical courses the opportunity to produce their own works through creative choreography. All of these courses enable students to exert their creativity. Similarly, many creative dance courses are offered in France along with theoretical courses, although few professional dance techniques are taught in musical dance classes in professional arts schools specializing in theater in comparison with the case of the United States. Students who take creative dance courses are given a lot of time to produce their own works in collaboration with other fields. Indeed, they are educated to be fully aware of the roles of dance in works. In musical dance classes in South Korean colleges, however, there are generally no further attempts to provide opportunities to experience dance in the repertoires of existing musical works. Indeed, current musical choreography education is neither systematic nor professional enough to teach students to come up with creative, inclusive ideas through experiencing a wide variety of dance genres. Fundamentally, the curriculums of the musical departments aim to nurture the professional human resources necessary for musical production; dance choreography education should be integrated into and strengthened in these curriculums to foster actors who are skilled at acting, singing, and dancing. In addition, more cooperative programs should be prepared to provide opportunities to produce works in collaboration with other fields. In this way, competent human resources will develop into musical directors or producers who are aware that choreography is no longer a supplementary part of musical education but should rather be developed along with acting and music. As this sort of education is expected to nurture capable choreographers who can create choreography with an excellent understanding of drama, dance choreography education seems to be mandatory for a musical curriculum.

확장된 안무의 장에서 수행적 드라마투르기

김재리 무용역사기록학회 2019 무용역사기록학 Vol.54 No.-

This study aims to explore the performativity of dramaturgy with in the field of expanded choreography. I look into the concepts of expanded choreography after the 1990s and discuss Jeroen Peeters’s dramaturgy in the respect of performativity. The characteristics of expanded choreography are as follow. First, choreographers are capable of producing knowledge rather than an artifact. The knowledge that can be produced is not rigid but more comprehensive. Second, the choreographers carry out experimental choreography with the paradigm of interdisciplinary and meta-media performing arts. They All the collaborators can be considered as an author which used to be given to only choreographers. Third, many choreographers attempt to explore the relationship between the body and society. They consider the social engaging of dance into the choreography. To examine how dramaturgs elaborate their own performativity in the area of expanded choreography, I have chosen the physical dramaturgy of Jeroen Peeters. I found results as below. First, a theory can be discovered in the choreographic practice. Materials can be chosen not only body gestures and movements but also other media, philosophy, and theories. Second, the dramaturg should approach to the process of choreography with empirical research. The practice of dramaturgy is involved in embodied thinking, in structuring, and performative operation of whole process. Third, the role of dramaturgy is performatively changed in every individual work. In contrast with the classical dramaturgy, the new dramaturgy in contemporary dance not deal with the abstraction of knowledge but practice in the way of performativity. 본 연구는 컨템퍼러리 댄스에서 안무의 미학적, 형식적 변화와 함께 드라마투르기(Dramaturgy)를탐색하는 것에 목적이 있다. 이를 위해 1990년대 이후 전개된 확장된 안무의 개념을 살펴보고 드라마투르기 작업 사례를 분석하여 드라마투르기의 개념적, 실천적 논의를 전개했다. 컨템퍼러리 댄스에서는 무용의 자율적인 매커니즘을 벗어나 타매체와의 교류와 합류를 통해 창작의가능성을 발견하고, 안무의 과정에서 담론과 이론 등 지식생산을 춤의 주요한 과업으로 고려한다. 이러한 안무의 인식론적, 방법론적 패러다임의 변화에 따라 매체의 다양성, 담론 생성, 협업 등을 토대로안무의 실험이 전개되고 있으며, 기존의 움직임의 나열과 구성에 초점을 맞춘 좁은 의미에서의 안무를벗어나 ‘확장된 안무’로 논의되고 있다. 본고에서는 컨템퍼러리 댄스의 안무 개념 및 실천과 변화의 배경에서 수행적 드라마투르기에 관한개념적 논의와 유럽의 드라마투르그 예룬 피터스(Jeroen Peeters)의 드라마투르기를 사례를 중심으로다음과 같은 결과를 도출했다. 첫째, 수행적 드라마투르그는 고전적 드라마투르기에서 강조되었던 텍스트 중심의 역할에서 해방되어 창작 과정에서의 실천을 강조한다. 드라마투르그의 정체성은 고정된 것이아니라 창작의 과정에서 자유로운 ‘행위’를 통해 매번 변화한다. 둘째, 안무의 재료에 대한 실증적 접근을 강조한다. 안무의 과정에서 수집되는 재료들은 드라마투르그와 같은 협업자들이 ‘공동의’ 감각과 이미지를 발생시키고 대화를 만들기 위해서 중요한 요소이다. 셋째, 협업의 방법론에 대한 요구이다. 작업의 과정에서 협업자들은 각자의 관점과 감각으로 참여하며 이들의 실천은 무대 위에서 이질적으로 존재한다. 공동의 작업을 위한 안무의 방법론과 도구의 개발은 안무의 재료를 선정하고 질문을 구체화하며, 장면의 구성을 위해서 중요한 과정이다. 본고에서는 드라마투르기의 수행적 접근을 체계적으로 살피고 드라마투르기를 새롭게 변화하는 안무의 맥락 안에 위치시키고자하며, 21세기의 춤을 이해할 수 있는 관점을 제시하고자 했다.

온라인공연에서 안무는 어떻게 발생하는가 : 낫띵 시어터(Nothing Theater)의 사례

양은혜 ( Yang Eun Hye ),권태현 ( Kwon Taehyun ),박이선 ( Park Leesun ) 무용역사기록학회 2021 무용역사기록학 Vol.63 No.-

본 연구는 코로나19 팬데믹으로 침체된 공연예술계에서 게임엔진 유니티(unity)를 기반으로 개발한 온라인 극장 낫띵 시어터(Nothing Theater) 사례를 중심으로 온라인에서의 공연예술 활동과 극장의 가능성을 살펴본다. 이에 본 극장에서 개발하여 발표한 허윤경의 「미니어처 공간극장: 오픈베타 (2020. 12. 28.)」와 차지량의 「떠나려는 사람만이 모든 것을 본다 2012.12.20. - 2020.12.20. (2020. 12. 31.)」를 대상으로 안무와 신체성 그리고 공연과 관객의 정의와 관계성을 분석하여 온라인공연에서 안무의 가능성을 제시하였다. 안무를 구현하던 무대와 신체라는 매개체가 가상공간으로 바뀌었을 때 안무의 고유성을 질문하는 것은 안무의 새로운 해석과 담론을 열어주는 계기가 된다. 퍼포머의 신체 없이도 공간의 구성만으로 감각되고 공간의 구성과 시점의 사이에서 안무의 고유성을 질문할 수 있다는 점, 가상극장이 관객의 참여와 감각하는 몸을 통해 존재할 수 있다는 점을 본 사례연구를 통해 살펴볼 수 있었다. This study introduces the online theater development case of the Nothing Theater, which Korea’s performing arts scene depressed by the COVID-19 pandemic developed based on the game engine Unity. In the online theater, choreographer Hur Yoon-Kyung’s Miniature Space Theater: Open Beta and Cha Ji-Ryang’s Only People Who Want to Leave See Everything were presented as online performances. This study seeks to present the possibility of choreography in online performances by analyzing the choreography and physicality as well as the relationship between performance and audience displayed in those works. When the stage where choreography is implemented and the human body as its medium are displaced into a virtual space, questioning the uniqueness of choreography opens the way for a new interpretation of and discourse on choreography. In the work of Hur, it was observed that the three designed theaters-virtual theater, performance theater, and sound theater-were linked and combined through the audience’s movements. In the work of Cha, the audience moves in a three-dimensional space built by twisting and reconstructing a specific space. Suggesting the possibility of online performance, we demonstrate that choreography can be sensed through the composition of space without the physical body of performers and that the online theater can exist through the audience’s participation with their sensing bodies.

인공지능 안무 시대의 주체적 몸을 위한 제언

임수진 성균관대학교 트랜스미디어연구소 2022 트랜스- Vol.12 No.-

This study predicts and raises the changes that AI will bring to dance art when machine-based choreography began, and finds questions we can ask as human artists. Research suggests that one of the crises of dance in the era of machine creative arts is that artificial intelligence does not stay in the tool of human choreography but becomes the subject of choreography. It is based on the political discourse of choreography that artificial intelligence has the power to control and restrict human dancers. This comes from a sense of crisis that the AI takes over the area of choreography and the human choreographer remains an incompetent coordinator, and as a result, the dancer's dancing body can be reduced to a mechanical body controlled by AI. In order for these concerns not to become a reality, this study proposes three measures. First, choreographer and dancer should develop digital literacy to live in the age of AI art. Secondly, choreographer should acquire the ability to accurately distinguish the roles of human choreographer, dancer, and AI in creative work. Thirdly, various levels of discourse on AI dance should be formed by actively conducting mutual media research of dance and technology. Through these efforts, the human dancer will exist as a subject of art, not a passive agent in the new dance ecosystem brought by the innovation of artificial intelligence technology and will be able to face an era coexistence with artificial intelligence creativily and productively.

시나위 안무법에 관한 연구 : 시간, 공간, 힘의 의미를 중심으로

김지영 한국무용연구학회 2011 한국무용연구 Vol.29 No.1

본 연구는 한국 전통예술에 들어있는 시나위요소를 현대춤 안무구성의 개념인 시간과 공간, 힘의 의미를 중심으로 분석하여 한국춤의 독자적인 안무방법론을 제시해 보고자 한 것이다. 그 결과는 다음과 같다. 첫째, 시나위 안무에 있어서 영속적 시간성은 의도된 시간의 불예측적 반복으로 그 한정된 주기를 결정하며 그 안에서 같음과 또 다름의 차이로 획득하는 결과물이다. 또한 한국춤 철학인 태극을 바탕으로 하고 있으며 영속적 순환성의 원리로 이루어져야 함을 의미한다. 둘째, 시나위 안무에 있어서 열린 공간감은 생성과 낙하로 비워지며, 그 비움 속에서 성과 속을 넘나듦을 말한다. 이는 공간이 소통을 유발하는 상생의 공간이며, 반복의 신성한 공간임을 의미한다. 또한 열린 공간감은 공연을 하는 무용수나 관객모두를 참여자로 인식함으로 시나위안무에 있어서 공간감은 이러한 열린 구조를 지향해야 할 것이다. 셋째, 시나위 안무에 있어서 힘의 변화는 응축과 투사로 천변만화의 상생을 주도한다. 한국춤에 있어서 힘의 생성은 호흡을 통해 나타나는데 호흡은 고도의 몰입으로 초현실적인 우주와 합일되는 생명력의 발현이며 집중된 신체의 ‘응축과 투사’의 반복적인 연행과정이기도 하다. 시나위 안무는 이러한 한국춤의 힘의 특성인 ‘기에너지’의 운용과 생명의 체험인 ‘신명’의 발현이 호흡을 통해 나타남으로 호흡의 변화에 집중하여 안무하여야 할 것이다. The study is to suggest the original choreography of Korean dance by analyzing Sinawi components embedded in Korean traditional art in terms of the meanings of time, space and power. The result is as followings: First, in Sinawi choreography, permanent temporality is an unpredictable repetition of intended time that decides its limited cycle and it is also resulted from difference and sameness. In addition to that, it is based on the Great Absolute(taegeuk) that means it should be composed of the principle of permanent circle. Second, in Sinawi choreography, open spatiality is to be empty by emergence and falling and it crosses holiness and world in its emptiness. in other words, it is a win-win space articulating communication, as well as a holy space of repetition. Open spatiality should aim at open structure by recognizing performing dancers, audience as participants in Sinawi choreography. Third, in Sinawi choreography, power chance leads a various win-win via condensation and projection. In Korean dance, power emergence is to be shown through breath, which is a higher immersion, representation of life, accorded with hyperreal universe, and repeated performance process of condensation and projection of focused body. Exercise of "gi" energy, which is the characteristic of power of Korean dance, and spirits, life experiences should be focused in constructing In Sinawi choreography.

실용무용에서 ‘코레오그래피’의 개념과 현재적 쟁점

유화정 한국무용예술학회 2023 무용예술학연구 Vol.93 No.4

This study focused on the fact that the choreography in practical dance affects popular culture anddance art world. Accordingly, the concept, characteristics, and related issues of choreography werediscussed by exploring related literature and media content and interviewing experts. As a result of the study, the concept of choreography in practical dance was organized into plannedmovements in contrast to freestyle hip-hop, broadcast choreography linked to the K-pop industry, anddance and narrative as short form content. In addition, it was discovered that the concept of choreographyin practical dance overlaps with the concept of choreography in contemporary dance in terms of attitudeand identity toward choreography. Finally, this study is meaningful in that it discussed the three-dimensional aspects of choreography,which develop into the discovery of dancer’s personal style and self-identity, along with the acceleratingdemarcation phenomenon of the dance world.