매튜 본의 Swan Lake: 낭만발레의 미적 관념과 남성 백조

박지혜 한국현대영미드라마학회 2019 현대영미드라마 Vol.32 No.2

Matthew Bourne’s Swan Lake (1995) is a contemporary rendition of Pyotr Ilyich Tchaikovsky’s Swan Lake, an icon of nineteenth century romantic ballet. The most radical aspect of Bourne’s remake was the change in the sex/gender of the swans. In Bourne’s retelling, instead of the elegant and sylphlike female swans of the classical version, the masculine and feral male swans invade the stage. What should be noted concerning men/masculinity in Bourne’s production is that men/masculinity on stage has been the subject of critical derision in romantic ballet. The strong aversion against men/masculinity was based on the idea of beauty in romantic ballet which was grounded in nineteenth-century gender ideology. Influenced by late romanticism, romantic ballet became an art form that expresses an idea of ideal beauty by producing an illusion of ethereal lightness and otherworldliness, and dancers aspired to the condition of disembodied spirits. As romantic ballet critics Théophile Gautier and Jules Janin criticized, massive and muscular men were ugly, monstrous and animal-like to produce such an illusion. Such misandry in ballet was based on the nineteenth-century bourgeois gender ideology. First, the notion of male body as incapable of transcending natural lusts was incongruous with the ballet ideal. Second, the physical prowess male dancers displayed through energetic leaps and turns reminded of the untamable working-class body. Third, the fear for homosexuality forbade men from enjoying men dancing on stage. Based on such exploration of the aesthetics of romantic ballet, this article argues that Bourne’s Swan Lake is, to apply José Muñoz’s concept of ‘disidentification’, a disidentificatory performance that simultaneously works with and against the traditional gender ideology undergirding the idea of ideal beauty in romantic ballet. Bourne’s rendition works with the normative beliefs about sex/gender by recycling animal-like men/masculinity in his reimagination of swans as wild and masculine. Bourne envisioned his swans to be more of an animal and he wanted to show the wildness of them. By having an all-male corps of dancers perform the wildness of swans by imitating actual swans’ movements with their masculine bodies exposed, Bourne works with the middle-class idea of men/masculinity as animal-like and monstrous. Bourne’s remake transgresses the prevailing gender ideology by making the male swans lyrical and beautiful. Bourne envisioned to create “a beautiful male creature-person”, and by combining the movements of actual swans with classical ballet technique and thereby presenting an idea of masculine beauty, Bourne works against the idea of men/masculinity as ugly. Moreover, Bourne disobeys the heteronormative view by relating the recognition of masculine beauty to the recognition of homosexual desire. By inserting sensuous movements that are irrelevant to the movements of actual swans or classical ballet technique—most notably the draping of the arms from the head—, and having these movements to arouse sexual desire in the Prince, Bourne overthrows the prevalent heterosexism in romantic ballet. ,

발레에서 낭만주의 이후 고전주의가 등장한 이유에 대한 고찰

심정민 영남춤학회 2017 영남춤학회誌 Vol.5 No.1

A transition period between Classicism and Romanticism, the 18th century has some highly important meanings in terms of the theory and the trend of arts in history. First, it was both a period of the transition to new manufacturing processes called the Industrial Revolution and a period of the French Revolution, the far-reaching social and political upheaval in France. These two epochal events facilitated industrialization, urbanization and the rise of the public in the whole European nations and helped people pursue new orders, norms and values away from the ancient regime. Second, the mimetic theory of art was largely replaced by the representational theory of art. While the former focused on the standardizable elements like the case of proportion equipped with completeness and unity, the latter was a concept with which artists could freely express natural emotions and sentiments away from non-humanistic rules and norms. Third, as far as the trend of arts was concerned, there appeared Romanticism as a new attitude or intellectual orientation that can be seen as a rejection of the precepts that typified Classicism. While Classicism emphasized the intellectual capacity of reason and regulated arts ― confining them under the principle of aesthetics ― Romanticism respected emotions and imagination and pursued more liberal and sentimental arts. What is worthy of note here is that the genre of ballet met the age of Classicism after that of Romanticism, reversing the general trend that Classicism is usually followed by Romanticism. As part of the reasons, the art of dance got off to a much belated start compared with other genres of arts, thus making it virtually impossible for the genre to establish the completion of forms — the typical characteristic of Classicism that flourished between the 16th and the 18th century. Besides, ballet came to be established as an independent performance art in the early 19th century and met the age of Romanticism that was the dominant trend of arts during the period. That was one of the reasons why classical ballet emerged after the romantic ballet unlike the cases of other arts that introduced Romanticism right after Classicism. After all, ballet made a continuous development until the late 19th century when its style was completed. For example, a lot of best known ballet forms were created by Marius Ivanovich Petipa (1818-1910) being considered to be the most influential master choreographer in classical ballet in the late 19th century. They include: diverse types of technical skills; divertissement that offers complicated and diversified techniques and spectacles or attractions; grand pas deux that is intensive and stylized; and mime that plays the role of dialogues. It was not until the late 19th century that classicism focusing on forms in arts represented the genre of ballet ― a trend that appears to swim against the current of the times.and the 18th century. Besides, ballet came to be established as an independent performance art in the early 19th century and met the age of Romanticism that was the dominant trend of arts during the period. That was one of the reasons why classical ballet emerged after the romantic ballet unlike the cases of other arts that introduced Romanticism right after Classicism. After all, ballet made a continuous development until the late 19th century when its style was completed. For example, a lot of best known ballet forms were created by Marius Ivanovich Petipa (1818-1910) being considered to be the most influential master choreographer in classical ballet in the late 19th century. They include: diverse types of technical skills; divertissement that offers complicated and diversified techniques and spectacles or attractions; grand pas deux that is intensive and stylized; and mime that plays the role of dialogues. It was not until the late 19th century that classicism focusing on forms in arts represented the genre of ballet ― a trend that appears... 18세기는 역사와 예술론과 예술사조에 있어서 매우 중요한 의미를 가지고 있다. 첫째, 시대적 배경으로 산업혁명과 프랑스대혁명이 발발하였다. 이로 인해 전 유럽에 산업화와 도시화 그리고 대중의 등장이 야기되었으며 구시대의 낡은 체제에서 벗어나 새로운 질서와 규범과 가치를 추구하게 되었다. 둘째, 예술론의 측면에서도 모방론에서 표현론으로의 대변혁을 이루게 된다. 모방론은 예술에서 완전성과 통일성을 갖춘 비례와 같이 정형화시킬 수 있는 요소를 중요시하였던 한편 표현론은 고전 문화의 비인간적인 규칙과 규율로부터 벗어나 자연스러운 감정과 정서를 중요시하는 개념이었다. 셋째, 예술사조에서는 고전주의와 대립하여 낭만주의가 등장하기에 이른다. 고전주의가 이성이라는 지적(知的) 능력을 중요시하면서 예술을 갖가지 미의 법칙으로 규제하고 거기서 벗어나는 것을 금하였던 반면에 낭만주의는 감정과 상상력을 존중하면서 보다 자유롭고 정서적인 예술을 지향하였다. 본 연구에서 주목해야할 점은 고전주의 이후 낭만주의 사조를 맞이한 타 예술분야와는 달리 발레에서는 일반적인 흐름을 거스르면서 낭만발레 이후 고전발레를 맞이하게 되었다는 점이다. 그 원인으로는 우선, 무용예술은 타 예술분야에 비해 상당히 늦은 출발을 보였으므로 17-18세기 당시 고전주의의 주요 특질인 형식의 완성은 불가능한 상황이었다. 또한, 발레는 19세기 전반에서야 독립된 공연예술로 자리매김할 수 있었으며 당대를 지배하는 예술사조 즉 낭만주의에 동참할 수 있었다. 그것이 고전발레 이전에 낭만발레가 등장할 수밖에 없었던 한 이유가 된다. 마침내, 고전발레는 발레가 꾸준한 발전을 거듭하여 그 형식을 완성한 19세기 후반에 이르러서야 확립될 수 있었다. 이를테면 복잡하고 다양한 동작기교(테크닉), 볼거리를 제공하는 디베르티스망, 강도 높고 양식화된 그랑파드되, 격식 있고 호사스러운 장면 연출, 대사의 역할을 하는 마임 등은 19세기 후반 ‘고전발레의 아버지’로 불리는 마리우스 프티파에 의해 확립되었다. 바로 그때서야 예술의 형식을 중요시하는 고전주의라는 명칭이 발레에 붙여짐으로써 시류를 거슬러 올라간 듯한 인상을 남긴 것이다.

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.

문예사조로서 낭만주의(Romanticism)가 발레에 미친 영향 분석- 주제, 기법, 구성적 요소를 중심으로 -

신효영 한국무용예술학회 2022 무용예술학연구 Vol.85 No.1

This study aims to lay the humanities foundation for illuminating ballet by analyzing the effect of Romanticism on ballet through the ideology and characteristics of Romanticism, a trend of literary thought. Romantic ballet’s representative works La Sylphide, Giselle and Pas de Quatre were greatly influenced by romanticism in the early 19th century. Under the theme of ‘Love’ that transcends human limitations, a ‘Sur la point’ technique was developed, creating a new genre called ‘Ballet Blanc’ and generating a feminine image to express the ideal of romanticism with a fantastic and ‘transcendental beauty.’ Romantic ballet yielded the driving force to inspire dreams and visions to the audience, and provided an opportunity for ballet to grow into a comprehensive art and to become popular.

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...

浪漫主义芭蕾《仙女》(1832) - 浪漫主义芭蕾的创作理念和审美特征 -

Cheng Si 한국연기예술학회 2015 연기예술연구 Vol.7 No.1

18세기 이전까지 발레는 이탈리아에서 기원되었고, 프랑스에서 형성된 예술이다. 시작은 음악과 시가 낭송이 합쳐진 예술 형태였다. 낭만주의 문예사조의 충격과 영향 아래, 발레 예술 역시 황금기에 접어들게 되었다. 낭만만주의 발레 는 발레의 발전사 중 그 두 번째 시기에 해당한다. 일부 낭만주의 발레 작품들이 이 발전시기에 탄생하 게 되었다. 발레 <선녀> (La Sylphide) 는 프랑스 대혁명과 낭만주의가 최고조에 이를 때 탄생된 작품이 다. 낭만주의 <선녀> (La Sylphide)를 통해 낭만주의 발레의 인물형상, 표현기법을 고찰해 본다. 또한 낭 만주의 사조가 발레의 창작 이념과 미적 특징에 미치는 영향을 분석해 낭만주의 발레가 국제 무대에 미쳤던 영향, 동시에 중국 본토의 발레 예술에 어떻게 받아들여졌는지 고찰한다. Until the 18th century, ballet originated in Italy and is an art formed in France. The beginning was an art form that combined music and poetry recitation. Under the impact and influence of romantic literary history, ballet art has also entered a golden age. The Romantic Manchurian Ballet corresponds to the second period of the development of the ballet. Some romantic ballet works were born during this period of development. La Sylphide was created when the French Revolution and Romanticism reached its peak. Through the romantic <Sylphide>, I examine the shape and expression technique of the romantic ballet. In addition, I analyze the effect of romanticism on ballet 's creative ideas and aesthetic features and examine how romantic ballet was influenced on the international stage and how it was accepted to mainland ballet art.

낭만주의 발레 작품에 나타난 무용의상 특성 연구: 파리 오페라 발레단의「라 실피드(La Sylphide)」를 중심으로

엄한나 ( Hanna Um ),박영하 ( Youngha Park ) 대한무용학회 2020 대한무용학회논문집 Vol.78 No.1

This study was to analyze the characteristics of dance costume in Romantic Ballet「La Sylphide」. This study analyzed the characteristic from the La Sylphide video performed in Paris Opera Ballet theater in 2004. In the result, this study found that first, 1st plot and 2nd plot had contrasting characteristics in costume design. Second, the characteristic between group dance and Solo also had differences in men and women sexuality. Especially, the costume of fairy group emphasized fantasy and dreamy image in materials and trimming. Each Solo costume had special costume design for emphasizing each personal character.

Ballet d`action에서 Romantic Ballet로의 의상의 변화요인

박길순 ( Kil Soon Park ),김서연 ( Seo Youn Kim ) 충남대학교 생활과학연구소 2004 忠南生活科學硏究誌 Vol.17 No.-

낭만주의적 고전발레 「백조의 호수」 연구

신혜조 한국노어노문학회 2024 노어노문학 Vol.36 No.1

본 논문에서는 마리우스 프티파와 레프 이바노프의 공동 제작으로 1895년 페테르부르크 마린스키 극장에서 초연된 「백조의 호수」에 대한 다면적 분석을 시도했다. 우선적으로 「백조의 호수」 모티브의 기원이 되는 문학작품과 리브레토의 비교 작업, 그리고 1876년 최초의 발레 버전과 1894년 개정 버전의 리브레토 비교 분석이 진행되었다. 이와 함께 프티파(1막/3막)와 이바노프(2막/4막)가 각각 제작한 무대의 안무적, 구성적, 의미론적 차이 등을 살펴보았다. 이러한 논의를 통해 이바노프의 창작 세계가 ‘낭만발레의 유산’을 계승하고 있으며, 「백조의 호수」는 이바노프가 추구했던 낭만주의적 경향과 프티파가 확립한 고전주의 원칙의 통합과 조화를 통해 완성된 결과물이라는 점을 밝히고자 했다. 이처럼 「백조의 호수」라는 단일한 작품에서 드러나는 이바노프와 프티파의 예술성을 논의한 본 연구는 「백조의 호수」가 대중에게 ‘프티파 발레’로 각인되어있는 한편, 이바노프가 주로 ‘프티파의 조수’로서 인식되어왔다는 문제의식에서 출발했다. 오늘날 우리가 19세기 후반 고전발레를 러시아 발레로 규정하고 있다면, 유럽 안무가들 사이에서 러시아 발레 발전을 위해 평생토록 헌신한 러시아 태생의 안무가 이바노프의 작품세계와 그 가치를 탐구하는 일은 마땅히 진행되어야 할 것이며, 이는 러시아 고전발레 연구의 또 다른 시작점이 될 것이라는 점에서 매우 중요하다. This study analyzed Swan Lake, a classical ballet co-created by Marius Petipa and Lev Ivanov, from a multifaceted perspective. To begin with, this study compared the original literary work, from which Swan Lake was adapted, and the libretto, and the 1876 and 1894 versions of the libretto. Furthermore, this study investigated the choreographic, compositional, and semantic differences between stages produced by Petipa (Acts I and III) and Ivanov (Acts II and IV). These discussions demonstrated that Ivanov's creative world inherited the legacy of romantic ballet. This study, which examined the artistic differences in the single work between the two choreographers, began with recognizing the problem that Swan Lake has been regarded solely as Petipa’s ballet by the public, with Ivanov seen only as his assistant. It would be crucial to explore the works of Ivanov, a Russian-born choreographer who devoted himself to Russian ballet among European choreographers, as it will serve as another starting point for research on Russian classical ballet.

[지젤]에 나타난 계급 상징성 연구

전효정 국제문화&예술학회 2023 국제문화예술 Vol.4 No.3

Purpose: This study identifies story factors that emphasize the authenticity of [Giselle], We aim to explore the symbolic meaning of class inherent in the work, focusing on movements, stage sets, and costume design related to the class symbolism expressed in the work Methods: The research method is a qualitative study that draws conclusions through literature review and video analysis data. The literature review analyzed dissertations, academic journal studies, arts and humanities books and performance programs, and overseas ballet company websites (5 locations). Video analysis analyzed video data of the Bolshoi Ballet’s live performance in 2012 and the Mariinsky Ballet’s live performance in 2023. Result: First, as a result of analyzing the movements through mime, focusing on the mime between characters, it was found that even among noble characters, low-class nobles, the same class, and high-class nobles symbolically appear. Second, in stage art, class symbolism is expressed by arranging the locations of Albrecht’s Castle and Giselle’s village in an upper and lower structure in Act 1. In addition, the symbolism of class could be found in the stage props to predict the ending of Giselle’s love in Act 1, Giselle’s tomb in Act 2, and Albrecht’s sword, which represents his noble status, and the mime of holding the sword. Third, class symbolism could be found in the hats of the nobles in Act 1, the color and material of Albrecht’s costume in Act 2, and Willy’s costume in Act 2. Conclusion: In order to express the characters in the work in detail, it is necessary to analyze movements through mime, understand the design and color of stage sets, and costumes. In addition, you can properly produce a ballet work by verifying accurate information and knowledge about the content of the work, the era, place, and culture in which it was set, and knowing the symbolic meaning of expression.