탈근대ㆍ문학ㆍ윤리 : 문학의 수행성 연구 ― <드라이브 마이카>의 분석과 비판을 중심으로

박숙자 한국비평문학회 2023 批評文學 Vol.- No.87

Recently, performativity has emerged as a new way to view Korean literature research. Performativity assumes a practical effect in which speech (text) triggers an action to audiences and listeners outside the text beyond the indicative effect inside the text. In other words, performance/performativity focuses on 'doing' rather than 'words' as '―become'. The performativity of literature also asks what literature is considered to do and what literature can do. First, this perspective is needed to think about the role of literature in dividing inefficiently structured language resources. It reflects this situation that the discussion on the performativity of literature is concentrated on literary research in the 1980s. However, it is necessary to think about the performativity of literature as a role of literature itself rather than subdiscussing it with the specificity of the 1980s. Second, the original work. This is because the values triggered by performance, difference, and body are paying attention rather than modern values such as identity and reason. As the term "the end of modern literature" becomes self―evident, discussions are needed to dismantle it and support the possibility of forming a new subject rather than literary (sex) reflecting the value of modernity. It is in the same context that various studies focusing on gender performativity are explored based on Judith Butler's recent discussion. However, it is imperative to expand the discussion of performativity and think in a way that various beings such as gender, refugees, and Precariats can coexist. In this study, we looked at the movie "Drive My Car" by combining these two perspectives. In this film, the meaning confrontation between the original/ performativity , men/women, and identity/difference is dismantled and transformed, and literature and reality pay attention to the pattern of division. For example, performativity that triggers differences in race, gender, nationality, and disability rather than focusing on reproducing the meaning of the original, and finally aggregating the commonality of pain while being involved in other people's wounds shows what literature can do in the postmodern era. 최근 한국 문학을 분석하는 방법으로 수행성 논의가 부상하고 있다. 수행성의 개념은 말(텍스트)이 텍스트 내부의 지시적 효과를 넘어 텍스트 외부의 관객, 청자에게 행위를 촉발하는 실천적 효과를 가정하는 것이다. 수행성(performance/performativity)은 ‘말’이 ‘―이다’로 그치지 않고 ‘하다’에 초점을 둔다. 문학의 수행성(performance/performativity)은 문학의 스펙트럼을 넓히는 방법론이기도 하고 문학성의 해체, 변용, 갱신을 목적으로 하는 탈구성, 재구성의 기획이기도 하다. 수행성 논의가 요청되는 것은, 첫째 불평등하게 구조화된 언어 자원을 분할하는 문학(성)을 상상하기 때문이다. 문학의 수행성 논의가 1980년대 문학 연구로 집중되는 것은 이런 사정을 반영한다. 다만, 문학의 수행성을 1980년대의 특수성으로 하위 담론화하기 보다 문학 자체의 역할로 사유하는 것이 필요하다. 둘째 원작, 동일성, 이성 등의 근대적 가치보다 변용, 차이, 육체가 촉발하는 탈근대적 원리에 주목하기 때문이다. ‘근대 문학의 종언’이 자명해지면서 근대성의 가치를 반영한 문학(성) 보다 이를 해체하며 새로운 주체 구성의 가능성을 지지하는 논의가 요구되는 것이다. 주디스 버틀러의 논의에 근거해서 젠더 수행성에 초점을 맞추는 연구가 다양하게 탐색되는 것 역시 같은 맥락이다. 그 결과 소수자,난민,프레카리아트 등 다양한 존재들이 공생할 수 있는 방법론으로 논의를 확장해 가고 있다. 본 연구에서는 하마구치 유스케 감독의 <드라이브 마이카>를 분석했다. 이 영화에서는 원작/수행(변용), 남/녀, 동일성/차이, 언어/신체 간의 의미가 동요되면서 지금―여기에 필요한 ‘문학’이 무엇인지 재현한다. 이 과정에서 상징적 질서의 내적 균열을 여성/목소리/신체의 이야기하기를 통해 촉발시켜 내고, 원작의 의미 재현에 초점을 맞추기 보다 인종, 성별, 국적, 장애 등의 차이를 드러내는 재맥락화된 무대에 초점을 맞추면서 고통의 공통성을 집합시켜 내는 탈근대 문학의 역할을 제시한다. 즉 <드라이브 마이카>는 고전 근대 작품을 중심에 놓고 문학의 수행성을 활발하게 시도한다. 하지만 식민/여성/이야기를 방법론적으로 차용할 뿐 일본(제국)/가부장(남성)/고전(문학)의 갱신만을 보여주며 문학(성) 자체의 변용과 재구성까지 나아가지는 못하고 있다.

한국 탈놀이의 "수행성" 연구

이미원 ( Mee Won Lee ) 한국연극학회 2010 한국연극학 Vol.0 No.42

This study aims to explore the performativity of Korean Mask-Dance Theatre. Though the Korean Mask-Dance Theatre exists long before the theory of performativity comes into being, the examination of Korean Mask-Dance Theatre from the perspective of performativity theory will explain us the modernity and the generality of the aesthetics of Korean Mask-Dance Theatre. Performativity could be defined with two perspectives. One relates to theatricality in general and the other to the linguistic philosophy, that leads speeches to do something. Fischer-Lichte further related the concept of performativity to the aesthetic of phenomenology and the physical experience. In other words, speech/behavior as performance means to speech/behavior as action. Performativity of Korean Mask-Dance Theatre is first shown in the flexibility of its texts. There are many variations of its recorded oral texts. Furthermore, the Mask-Dance theatre played from the evening till dawn until the 19th century and now it could be compressed up to two or three hours. The flexibility of performing hours also tells us the flexibility of performance. In other words, the performance is making along with the improvisational acting of the actors and the coordination of the audience. There are many liminal areas between theatre and ritual as well as between theatre and reality in Korean Mask-Dance Theatre. Ritual prepares the future time because it aims at the efficacy. Since final ritual purpose exists in the future time, there are more flexibility of the performance to make. It is same with the liminal areas of reality. Reality could be the part of performance since it intermingles with theatre. Therefore, performativity and improvisations work more in these theatres than in fixed theatres. Indeed, these liminal areas are one proof to show us the performativity of Korean Mask-Dance Theatre. The emphasis of body and movements is very strong in Korean Mask-Dance Theatre, and so does the theory of performativity. The acting of Korean Mask- dance Theatre accompanies the dance movement throughout the play. The wearing of masks could be another emphasis of the body. The meaning of dialogue also aims at the plural by repeating similar questions as Derrida`s deconstructional theory. The empty space of performing area also make the spacial movements easy and flexible. Korean Mask-Dance Theatre has performativity as examined above. It is making performance along with the actors and the audience as time goes by. Texts, space, even the distinction between theatre and ritual(or reality) are flexible in order to allow the performativity. It utilizes many techniques to perform the performativity.

수행성과 퍼포먼스의 생산적 간극: 『인형의 집』에 나타난 입센의 드라마터지를 중심으로

최성희 ( Sung Hee Choi ) 한국영미문학페미니즘학회 2012 영미문학페미니즘 Vol.20 No.2

Judith Butler, with her theory of performativity, questions the idea of ``stable`` identities to insist that identity exists only in a reiterated ``doing`` that is coerced by a cultural apparatus. Querying the relation between performativity and performance, this paper first attempts to examine how theatrical performance is ``othered`` by Austin and Butler who exclude performance from their theories of performativity and also by recent theories of avant-garde theatre-"ideology of modernisms." Instead of undoing the difference/distance between performativity and performance delineated by Austin and Butler, however, this paper endeavors to re-appropriate the difference from a more dialectical stance. Theatre performance is different from but indispensible "outside" of real life`s performativity. The distance between performativity and performance creates a specific site of seeing that is absolutely necessary for us to reflect on and intervent into the process of making reality. By analyzing the way A Doll`s House exposes, speculates, and communicates gender performativity with focus on three key mis-en-scenes (Doll House, Nora`s Dance, and Nora`s Door), I argue for theatre performance as a site/frame for the investigation on the "concealed or dissimulated conventions" of performativity.

퍼포먼스 트러블: 퀴어적 전환과 퀴어 공연미학

주현식 ( Ju Hyun-shik ) 한국연극학회 2018 한국연극학 Vol.1 No.68

논문의 목적은 퀴어적 전환(Queer Turn)의 새로운 패러다임 하에 한국 퀴어 공연 미학의 성과와 한계를 살펴보고, 이러한 공연 미학이 조망하는 정체성의 정치학을 ‘퍼포먼스 트러블’이라는 개념으로 제안하는 것이다. 여기서 퀴어란 광의적 의미에서 이성애 이외의 비규범적 섹슈얼리티, 몸들, 욕망 주체의 포지션의 범주를 가리키는 포괄적인 용어다. 연구 대상은 제3회 퀴어연극제 공연인 <자유의 살롱>, <홍은빌라>, 제1회 페미니즘 연극제 중 하나인 <미아리고개예술극장>, 그리고 이태원 트렌스젠더바의 드랙퀸 퍼포먼스다. 본론에서는 우선 이론적 지평과 실제 공연 미학을 검토하는 부분으로 나뉜다. 이론적 지평을 살펴보는 자리에서 섹스, 젠더, 섹슈얼리티, 그리고 퀴어의 개념 관계들을 정리한 뒤 젠더 트러블이 곧 퍼포먼스 트러블임을 밝힌다. 이어지는 실제 공연 미학을 조망하는 부분에서는 각각 해당하는 공연들의 퀴어 미학의 성과를 헤아려본 후 그 한계점을 고찰하고 ‘퍼포먼스 트러블’이라는 정체성의 정치학을 이러한 공연들이 얼마만큼 달성했는지 가늠하려 한다. 성적 정체성의 구성요소가 매끄럽게 받아들여지지 않고 간격, 모순, 충돌, 공명, 초과, 열림의 감각을 가지고서 위치될 때 퀴어성(Queerness)은 발현된다. 비규범적 섹슈얼리티의 실천들은 분석 범주로서의 젠더의 안정성에 의문을 제기하면서 젠더의 의미를 남성성/여성성의 기존 개념으로 한정짓는 관점들을 반박하게 된다. 반복 자체를 가능케 하는 이성애적 젠더의 규범을 어떻게 탈자연적으로 반복하고 또 위치 변경할 것인가와 관련된 실천적 문제에 퀴어의 섹슈얼리티는 개입할 수 있다. 버틀러가 강조한 것처럼 performativity의 퍼포먼스로의 환원은 명백히 오류이지만, performativity와 퍼포먼스, performativity와 연극성의 두 가지 개념은 서로를 지속적으로 비춰주면서 상호 참조 지점으로 기능한다. 규범화된 이성애적 젠더의 규제적 작업에 반대하는 행위, 법을 다르게 반복 인용하는 ‘수행성(performativity)’의 행위를 통해 젠더에 트러블을 내는 사건적 과정은 수행성에 연극성을 담보로 하는 행위적 속성, ‘연행성(performativity)’이 증식하는 과정에 다름 아니기 때문이다. 즉 젠더 트러블은 ‘수행성’의 행위에 다층적이면서도 기생적이며 비일관적인 ‘연행성’이 분리된 듯 하면서도 깊이 연루되는 과정, 퍼포먼스 트러블의 또 다른 이름이다. 젠더 트러블, 퍼포먼스 트러블을 통한 젠더 정체성의 해체는 정치성 해체가 아니라 오히려 정체성이 해체되는 관점 자체를 통해 정치성을 확립한다. 바깥에서의 소속감을 확립하고, 방향상실감을 노동자의 상황에 중첩시켜 외재화하며, 음탕한 축제와 신성성의 비애를 섞는 식으로 일단 기존 퀴어 공연은 퀴어성을 형상화하는 데 어느 정도 성과를 거둔 것으로 보인다. 그럼에도 이 공연들이 젠더 트러블, 퍼포먼스 트러블을 급진적으로 보여줬는지에 대해서는 쉽게 수긍할 수 없다. 우리의 일상 세계는 실은 친숙한 이성애와 낯선 퀴어적 섹슈얼리티가 충돌하는 유동적 경계로 구성된다. 그러나 이성애자와 대립되는 것으로서 퀴어를 동종화하는 일은 금물이다. 그렇게 되면 퀴어는 또 다른 동일 범주의 정체성이 된다. 가독성과 비가독성이 혼재된 세상을 바라보는 견해의 복잡성, 비결정성을 실현할 수 있는 젠더 트러블, 퍼포먼스 트러블이 과연 퀴어공연에서 어떻게 실현될 수 있는지 창작 현실의 면에서나 이론과 비평의 면에서나 숙고가 요청된다 하겠다. This article’s aim is to examine the aesthetics of queer performance ring under a new paradigm of queer turn and suggest the concept of ‘performance trouble’ for the politics of identification figured by the aesthetics. Queer can be defined as an umbrella term for abnormal sexuality, bodies and positions of desiring subjects. To the end, this paper deals with the works of the third Queer Theatre Festival such as The Salon of Freedom, Hongen Villa, one of the first Feminism Theatre Festival, Art Theatre of Miari Hill, and drag queen performance in transgender bar in Itaewon. The trend of queer studies attempts to eliminate the distintion between sex and gender, focus on sexuality, and foreground the unstable identification. Because of these points, it is different from feminism studies that emphasizes masculinity and feminity as categories of a historical analysis and understanding tool or gay-lesbian studies that stresses sexuality, nevertheless, pays attention to establishing the identification of homosexualist. In Queer Theatre Festival, queers become actors and audiences. They form their own solidarity community, stage their respective performances, and see the theatrical works together. They seem to build their own small exclusive community for the theatres. Therefore, in terms of aesthetics, the Festival seeks to perform outside belonging for those who could not belong to any territory of normal heterosexuality. However, Art Theatre of Miari Hill tries to describe that, in the world of regarding heterosexuality as normal, they could not have their own house where they dwell comfortably. They are here, at the same time, they momentarily haunt there as ghost. Hence, their bodies suffer from the loss of sense of direction, orientation, and place. The body of dragqueen is a man’s and woman’s body. His body spans from a reading body as a man’s body and a read body as a woman’s body. This drag body displays the unstability implicit in gender representation. In patriarchal system, it is very difficult for one man not to appear as a man. Also, for him not to do behaviors of manliness causes him many dangers. As a result, we can observe the aspects of a pitiable victim, resentful shaman and collapsed angel from the drag queen who wear female clothes, despite of the risks and damages. Gender trouble can be explained as a trial for questioning a solid identification conventionalized through heterosexual normativity. Thus, gender trouble links to that gender slips into queer, that is, to denaturalize the heterosexually repeated bodies’ styles via abnormal sexual practices. However, theatrical stages should be requested to complete another fortuitous aspects of this repetitive bodily practices in the historical accumulated situation. In sum, if gender trouble is queer practice, it is another name of performance trouble. relevant to theatrical behaviors. The deconstruction of gender identification with gender trouble, performance trouble does not mean to negate the politics of gender. Rather, the perspective of the deconstruction of identification triggers to establish the politics of gender practice, because ender trouble, performance trouble testify that our world consist of the flexible border that the familiar heterosexuality and the strange queer sexuality. Thus, the aesthetics of queer performance becomes the politics of it with dissensus tracing the redistribution of heterogeneous senses.

지각화의 관점에서 본 연극에서의 수행성과 매체성

심재민(Shim, Jae-Min) 순천향대학교 인문학연구소 2014 순천향 인문과학논총 Vol.33 No.3

본고는 포스트드라마 연극의 일반적 특징들이나 단순히 수행성만을 대상으로 삼아왔던 기존의 연구와는 다른 측면에서 지각화의 문제를 다루고 있다. 특히 수행성과 매체성의 상호관계 및 상호매체성의 문제를 함께 고려하면서 연구를 실행하였다. 따라서 지각화의 전략을 구사하는 연극에서 수행성과 매체성이 어떤 역할을 하며 또 어떤 방식으로 서로 결합되어서 나타나는가를 밝히고자 하였다. 그리고 지각화와 매체의 체현을 중시하는 새로운 연극의 경향을 실제 공연의 예를 통해서 드러내고자 하였다. 본고는 크래머(Sybille Krämer)가 규정한 지각화 개념의 특징들, 즉 지각의 양극성, 신체성, 사건성격, 위반성을 중심적으로 살펴보면서, 이 특징들이 공연에서 결국 수행성을 전제한다는 점을 밝혀내었다. 즉 지각화가 수행성 개념을 공연 안에서 지각학적 내지 지각현상학적으로 정당화시켜주는 근거라는 것을 확인하였다. Existing studies usually targeted the post-drama plays or just performativity, but this study approaches on the perceptualization in different views-especially attempted to consider mutual relations between performativity and mediality as well as intermediality. Thus, it is the most important for this study to clearly recognize what roles of performativity and mediality are in plays which employ strategies of perceptualization and how they are combined and appear in academic views. In addition, it is also important to show the new tendency of plays that set importance on perceptualization as well as embodiment of medias with the actual performance cases. While looking into features of perceptualization claimed by Krämer-polarity of perception, corporeality, character of event, and violationality, this study found out that those features finally make performativity prior in performances. In other words, perceptualization is a ground justifying the concept of performativity in a performance based on Aisthetik or Phenomenology of Perception; the performer's body and audiences' bodies exist together in the same place, mutual relations between an event and perception are made by the co-exist, and then 'an event of perception' occurs as the result, during perceptualizing in a performance.

셰익스피어 공연에서의 수행적 실험과 포스트모던적 현대성 —제의적 수행에서 관객이 ‘쓰는’ 놀이적 수행까지

이용은 한국중세근세영문학회 2010 고전·르네상스 영문학 Vol.19 No.2

This article focuses on the aspect of performativity in performances of Shakespeare’s plays in Korea as well as the postmodern quality of the performances. Performativity signifies the co-existence of the stage and the audience. What takes place on the stage affects and is affected by the audience. Therefore the audience and the performance on the stage together produce multiple meanings which change at every instant. The four performances considered in this article are based on Shakespeare’s works, and each has unique characteristics. However, they all involve and show the interactions between the performance and the audience, thereby demolishing the fourth wall and the barrier between the stage and the audience. Jukjuk’s <Macbeth> is performative in two ways: first, the performance is so materialistic that it touches the inner memory and feelings of the audience and, second, it produces open signifiers. The performance itself communicates with the audience through its ritualistic aspect, inducing changes in the emotions of the audience, and thus increasing the degree of performativity. The movements of characters are neither standard nor conventional: sometimes they are like dances and sometimes they are like Takgeon. The positions of the chairs are changed continuously and these arrangements form special relationships with the characters. Therefore, the movements of the characters and positions of the chairs produce meanings that are ambiguous for the audience, and thus act as open signifers. <Romeo and Juliet Are Murdered> continuously urges the audience to compare and contrast Shakespeare’s work and the movie by Franco Geffireli. Therefore, the audience participates in the process of creating the meanings because the performance on the stage creates open signifiers to be felt and understood by the audience. The performance is different from both the original work and the movie, in that it is a complete parody of the originals. This use of parody results in the process, for the audience, of comparing the two texts. In this way, the performance induces the continued participation of the audience and employs a high degree of performativity. <The Taming of a Shrew> and <A Comic Show, Romeo and Juliet> are further examples of active performativity. In these works, the audience ‘writes’ the work by actively participating in the performances. For example, at the beginning of the performance the audience chooses the actor and actress to play Romeo and Juliet from among many candidates, and in the middle of the performance they change the actor and actress. The performances rely entirely upon the intervention and the participation of the audience. Therefore, the performativity of the two performances is strongly enhanced and the traditional distinction between the stage and the audience is strikingly reduced. It can be concluded that the four above-mentioned works are each performative in unique ways. Furthermore, there are also strong postmodern aspects of the four above-mentioned works. In <Macbeth>, signifiers do not have any fixed meaning; they are left open through ambiguity and connotative suggestion. <Romeo and Juliet> uses parody in a post-modern fashion, and <The Taming of a Shrew> and <A Comic Show> have a hyper-textual quality, and at the same time depend upon the element of chance. All of these postmodern characteristics are analyzed in this article.

"내 이름은 바라바스, 나는 유태인이요": 『몰타의 유태인』에 나타난 역할극의 전복성과 한계에 관해

임정인 한국중세근세영문학회 2008 고전·르네상스 영문학 Vol.17 No.1

This paper reads the way in which Christopher Marlowe's The Jew of Malta deals with the political implication in the early modern fashioning of Jewishness. In doing so, this paper attempts to explore how the play looks into the way in which early modern European Christians were building up a fantasy about stable supremacy in a closely intertwined discourse of race and religion at the expense of the Jewish Other. It also discusses how, and to what extent, the playwright challenges the contemporary construction of essentially impure and evil Jews in opposition to inherently pious and superior European Christians. In order to better understand Marlowe's representation of Barabas, the Jewish merchant-protagonist, as well as the anti-semitic Maltese context in which the play is located, this paper first introduces the history of anti-Jewish arguments in medieval and early modern Europe. Then it goes on to argue that Judith Butler's theory on performativity helps analyze Barabas's attempt to dismantle the Maltese society by performing destructive stereotypes of a criminal Jew and thus by conforming to the imagination of the dominantly white, Christian, and male community in Malta. For anti-semitism does not tell so much about Jews as about the society that produces the discourse itself. Barabas succeeds in agitating the apparently stable boundaries of racial, religious, political, and moral differences by way of proving that a typical Jew with negative qualities is not born but is constructed, and thus can be performed. Consequently, the audience can see more clearly that anti-semitism is a symbolic system that is kept to maintain particular social systems, not an essential truth. One cannot conclude, however, that Marlowe's intention was to advocate the Jewish community that has been unjustly persecuted throughout the last millennium, nor can one argue that Barabas is radically subversive in his disturbing role-play. For, by making a Jew perform "the Jew", the playwright seems in the end to have created another Jewish monster and father, who forecloses the possibilities of alternative performativity in manipulating his daughter according to the patriarchal rule of the gendered Maltese society. This paper reads the way in which Christopher Marlowe's The Jew of Malta deals with the political implication in the early modern fashioning of Jewishness. In doing so, this paper attempts to explore how the play looks into the way in which early modern European Christians were building up a fantasy about stable supremacy in a closely intertwined discourse of race and religion at the expense of the Jewish Other. It also discusses how, and to what extent, the playwright challenges the contemporary construction of essentially impure and evil Jews in opposition to inherently pious and superior European Christians. In order to better understand Marlowe's representation of Barabas, the Jewish merchant-protagonist, as well as the anti-semitic Maltese context in which the play is located, this paper first introduces the history of anti-Jewish arguments in medieval and early modern Europe. Then it goes on to argue that Judith Butler's theory on performativity helps analyze Barabas's attempt to dismantle the Maltese society by performing destructive stereotypes of a criminal Jew and thus by conforming to the imagination of the dominantly white, Christian, and male community in Malta. For anti-semitism does not tell so much about Jews as about the society that produces the discourse itself. Barabas succeeds in agitating the apparently stable boundaries of racial, religious, political, and moral differences by way of proving that a typical Jew with negative qualities is not born but is constructed, and thus can be performed. Consequently, the audience can see more clearly that anti-semitism is a symbolic system that is kept to maintain particular social systems, not an essential truth. One cannot conclude, however, that Marlowe's intention was to advocate the Jewish community that has been unjustly persecuted throughout the last millennium, nor can one argue that Barabas is radically subversive in his disturbing role-play. For, by making a Jew perform "the Jew", the playwright seems in the end to have created another Jewish monster and father, who forecloses the possibilities of alternative performativity in manipulating his daughter according to the patriarchal rule of the gendered Maltese society.

“Lost Missing and Forgotten”과 “Trailer”에 나타난 수행성과 테크놀로지 사용에 관한 연구

박나훈 한국멀티미디어학회 2020 멀티미디어학회논문지 Vol.23 No.6

A site-specific performance is a genre and a phenomenon that has recently emerged as a recent paradigm of performing arts: a communality. It involves the performativity of the audience and has various phenomena of contemporary performing art. This study aims to figure out methods of performativity. “Lost Missing and Forgotten,” which is a collaboration from Finland and Korea created in 2012 and “Trailer,” which is held in Copenhagen Denmark in 2010 by Kitt Johnson. Three principles of performativity which have borrowed as critical tools for this study are role reversal, community building, and contact, which based on “The Aesthetics of Performativity,” written by Erika Fischer-Lichte in 2017. The study results show that performativity in the vertical structure and horizontal structure of sitespecific performance can act as an environmental factor through the audience’s body. Additionally, it turned out that role reversal principle was transformation audience to a creator; community building principle led to an interest in neighbors. Lastly, the contact principle was one of the methods to watch the performance.

영상 기록의 수행성에 관한 연구

김이진 한국영상학회 2020 한국영상학회 논문집 Vol.18 No.5

During the 2000s, the boundaries between documentary films and artworks using record images became blurred, and convergence and transformation among genres have prevailed. This study aims to describe the new topography of documentation via the moving image through its two orientations considering the concept of performativity as an enhancement for both. The two image recording orientations used here originate from the desire for conservation and possession. Conservation is directly connected to the value of records accomplished by observations and indexical images, while possession is disregarded as a residual characteristic in the mainstream of visual documentation, in which an agent of record is reflected. Documentation via the moving image, which is executed between the two conflicting desires, is performative. Performativity, referring to the acts of being fermented and created only through production and without an objective reference to authenticity illuminates the behavioral aspects of image recording and provides a conceptual basis demonstrating the value of its possessive characteristic. This study critically examines the research by Stella Bruzzi, who asserted that documentary production is a performative act, and attempts to complement the notion of performativity in documentation via the moving image through the temporary and incidental properties of image recording, which it is felt she overlooked. According to Erika Fischer-Lichte, temporary and incidental properties are prerequisites of performativity during performances. With an analysis of the similarities between the image record and performance and a reconsideration of performativity by John L. Austin, who discovered the concept, this study intends to reexamine the performativity of documentation via the moving image. In addition, based on the idea of Austin, who saw the subject of the utterer and the world of customs as the conditions under which performative utterance is properly put into effect, conservation and possession in image recording are repositioned into a new relationship of thesis-antithesis-synthesis. 2000년대를 전후하여 기록적 영상을 사용하는 영화와 미술작품의 경계가 모호해지고 장르 간의 융합과 변형이 빈번하게 나타난다. 이 연구는 영상 기록의 새로운 지형을 영상 기록이 가진 두 지향성과 둘 사이를 조율하는 수행성의 개념을 통해 설명하고자 한다. 영상 기록의 두 지향성은 보존과 소유의 욕망에서 비롯되어, 보존은 지표적 실사영상, 관찰자적 태도를 통해 성취되며 기록물의 가치와 직결되었고, 소유는 기록 주체가 반영되는 특질이자 주류의 영상 기록에서 잉여적 특질로 폄하되어 왔다. 두 상충하는 욕망 사이에서 실행되는 영상 기록은 수행적이다. 진위를 판별할 객관적 참조 대상 없이, 오직 수행됨을 통해 발효되고 창출됨을 의미하는 수행성은 기록의 행위적 측면을 조명하며 영상 기록이 가진 소유적 특징의 가치를 증명할 개념적 토대를 제공한다. 이 연구는 다큐멘터리 제작을 수행적 행위라고 주장한 브루지의 연구를 비판적으로 고찰하여, 그가 간과한 영상 기록의 일회성과 사건성을 통해 영상 기록의 수행성 개념을 보완하고자 한다. 피셔-리히테에 의하면, 일회성과 사건성은 퍼포먼스 공연에서 수행성이 발현되는 전제조건이다. 본 연구는 영상 기록과 퍼포먼스의 유사성을 분석하고, 수행성을 최초로 정의한 오스틴의 언어철학적 개념을 재고하여 영상 기록의 수행성을 재규명한다. 또한, 발화자라는 주체와 관습이라는 세계를 수행문이 적절하게 발효되는 조건으로 본 오스틴의 연구로부터 착안하여, 영상 기록의 보존과 소유의 특징을 새로운 정반합의 관계로 재배치하고자 한다.

리차드 셰크너의 작업에 나타난 수행성 미학 연구

박성연 한국연기예술학회 2020 연기예술연구 Vol.18 No.2

본 논문은 리차드 셰크너의 작업에 나타난 수행성의 미학적 특징을 고찰한 연구이다. 오늘날 수행적 공연의 형태는 한국연극뿐 아니라 세계 여러 나라 공연예술에서 그 중요성이 더욱 확대되고 있다. 그 배 경에는 여전히 프로시니엄 무대가 세계를 장악하고 있을 때 ‘퍼포먼스 그룹’을 창단해 독자적인 길을 걸 었던 셰크너의 영향이 적지 않다. 수행성이라는 용어는 1955년 존 오스틴에 의해 처음 알려진 개념이다. 초기에 수행성은 발화행위와 관련되어 ‘행위를 이행하다’는 의미로 쓰였다가 1990년대 연구대상이 언어 철학적 관점에서 문화의 수행적 성격으로 시각이 변화하기 시작하면서부터 문화 이론을 통해 새롭게 거 듭나게 되었다. 에리카 피셔 리히테는 공연을 하나의 ‘사건’으로 해석하고, 몸의 ‘자기지시성’을 강조하며 수행성을 설명했다. 피셔 리히테에 의하면, 몸이 그 자체로 존재하고 그에 대한 관객의 지각에 의해 연극 의 수행성이 작동된다는 것이다. 이렇게 세계적으로 수행성에 대한 이론이 발전하는 가운데 예술 장르간 경계는 점차 모호해졌으며 퍼포먼스 아트가 주목받고 예술 장르가 융·복합적으로 발전하기 시작했다. 연구자는 현대공연예술의 발전에 셰크너의 역할이 컸고 특히 그의 작업 속에 이러한 수행성 미학의 특징 들이 나타난다고 보았다. 셰크너는 연극을 일방적인 대사 전달이 아닌 총체적인 경험의 예술로 인식되기 를 바랬기 때문이다. 또한, 그의 작업은 전통 연극의 공간을 파괴한 공간의 변화와 관객 참여에 중점을 두었는데, 그는 이를 ‘환경연극’이라고 제시하고 연극에서 관객이 보다 능동적이기를 바랬으며, 견고했던 제 4의 벽을 허물었다. 이를 통해 공연자와 관객이 진정으로 하나가 되면서 자연스럽게 삶과 예술의 경 계를 허물고 일상에서 예술적인 요소를 찾는 일상성을 추구했다. 그러므로 본고의 연구자는 이러한 미적 논의의 발전으로써 세크너의 수행성을 다음의 네 가지로 구분하였는데 그 첫째는 탈 장르성, 둘째는 환 경연극적 공간성, 셋째는 능동적 관객성 그리고 넷째는 일상성이다. 많은 현대공연예술의 흐름이 있지만, 연구자는 도출된 네 가지의 특징이 셰크너의 공연미학으로 일관되게 보여지는 수행적 미학이라고 보고 이러한 특징들을 고찰하고자 한다. This paper is a study on the aesthetics of performativity in Richard Schechner’s work. These days the form of performative performance is becoming more important not only in Korean theater, but also in performing arts in many countries around the world. The term performativity has been studied for a long time, but it has been shown as an experimental aspect in performances produced since the 1960s. Behind the scenes is the influence of Schechner, who founded the “Performance Group” and took his own path when the proscenium arch still dominated the world. The term performativity was first known by John Austin in 1955. Initially, performativity was used to mean ‘to perform’ in relation to the act of pronouncing. Erica Fischer-Lichte interpreted the performance as an ‘event’ and explained its performativity, emphasizing the body’s ‘self-referential’. According to Fischer-Lichte, the body exists in itself and the performativity of the play is driven by the audience's perception of it. That is because Schechner wanted the play to be perceived as an art of total experience, not as a one-sided delivery of lines. His work also focused on changing the space that destroyed the space of traditional plays and on audience participation. He presented it as an ‘environmental theatre’ and hoped the audience would be more active in the play, breaking down the solid fourth wall. Through this, he hoped that performers and audiences would truly unite and naturally break down the boundaries between life and art, and sought to find artistic elements in everyday life. Thus, as an advance in this aesthetic discussion, This paper researcher divided the performance of Schechner into four categories. The first is decategorization, the second is environmental theater space, the third is active audience, and the fourth is dailiness. This paper researcher would like to consider these four characteristics, considering that they are performativity aesthetics that are consistently shown by Schechner's performing aesthetics. Furthermore, this paper researcher wants to help Korean theatre make a leap forward globally by suggesting expansion and development potential in plays through this study.