현대도자에 나타난 연극성 (theatricality) 연구

이윤희 이화여자대학교 도예연구소 2023 陶藝硏究 Vol.- No.32

최근 여러 예술이 통합되고 설치, 미디어등 표현의 방식이 전례 없이 다양해지고 있다. 현대 미술이다양해지고 각 장르들의 통합으로 발전하는 양상은 시대적 현상이라고 할 수 있다. 예술사에서 미술이분리되기 시작한 것은 얼마 되지 않았다. 18-19세기를 지나며 미술은 공간예술로 정의되며 시간예술인문학이나 연극과 엄격히 구분되었다. 그러나 20세기 중반 이후 각 매체가 서로 긴밀한 관계를 가지며 점점 구분이 모호해졌고 모더니스트들로부터 배격 당해 온 연극성이 포스트모더니즘 시기에는 강조되었다. 이는 미술에 대한 지각을 정적이고 시각적인 것에서 유동적이고 체험적인 것으로 나아가게 하였다.본 연구는 현대미술 안에서 연극성의 개념을 살펴보고 현대도자 안에서 발견되는 연극성에 대해 연구하여, 현대도자의 표현의 다양성을 모색해보고자 한다. 이를 위해 본 연구는 Ⅱ장 1절에서 미술사적맥락에서 미술과 연극성의 개념이 역사적으로 어떻게 변천되었는지 고대 그리스, 르네상스, 바로크, 모더니즘을 거처 동시대에 이르기까지 연극성을 고찰한다. 2절에서 현대의 작가들은 어떠한 방법으로 연극성에 대해 전개해나가는지 알아보았다. Ⅲ장에서 연극성을 통한 주요 도예가들의 표현을 분석함으로써 오늘날 현대도자에서 어떻게 작가들이 연극성을 이해하고 있으며 그를 통해 어떤 의미를 창출하고 있는지를 살펴보았다. 이상의 연구 과정을 통해 고대부터 지금까지 연극성의 개념은 연극과 미술 속에서 서로 영향을 주고 받으며 의미가 변하고 또한 다양화되었다는 것을 확인하였다. 17세기 바로크 미술에 나타났던 연극성은환영적인 면모를 뜻하였으나 현대 미술에서의 연극성은 실제 시・공간을 인지하는 것을 뜻하는 것에 가까워졌다.조각과 연극의 관계는 점점 통합적으로 변하고 있다. 조각이 연극의 배우들처럼 연출되기도 하고 연극의 배우들이 조각처럼 연출되기도 하는 등 밀접한 관계성을 찾을 수 있었다. 또한 과거의 연극과 미술의 시・공간은 뚜렷이 구분이 되었지만 포스트모더니즘의 영향으로 미술과 연극의 구분이 모호해지면서 예술장르가 점차 통합되고 있는 것을 볼 수 있다. 공간 안에서 구성되는 조각은 관람자에게 시간적, 신체적 경험을 부여함으로써 조각의 영역을 확장시킨다. 도자예술로 재해석된 연극성은 현대에 맞게 연출방식을 표현하여 새로운 연극성을 완성하는 것을 볼 수 있다. 현대조각에서의 연극성을 적용한다면 현대도자의 의미와 표현방법은 더욱 다양해지고 확장될 것이라고 기대한다. 그리고 현대미술은 점점 관람자와의 심미적이고 관계적인 시・공간이 중요해지고있다. 앞으로 전시연출에 있어 기존의 형식에 벗어나 작품과 관람자 사이의 시・공간에 대해 생각해보아야할 것이다. Recently, various forms of art have been converging and diversifying in unprecedented ways, incorporating installation, media, and other modes of expression. The trend of contemporary art diversifying and evolving through the integration of various genres can be considered a reflection of the spirit of the times. The separation of art from other forms of expression is a relatively recent development in art history. It was not until the 18th and 19th centuries that art began to be defined primarily as a spatial medium, distinct from the temporal arts such as literature and theater, marking a clear distinction between them. However, starting from the mid-20th century, various artistic mediums began to establish close relationships with each other, and the boundaries between them gradually became more ambiguous. The theatricality that had been marginalized by modernists gained prominence during the postmodernist era. This shift transformed the perception of art from something static and visual to something dynamic and experiential. Therefore, it is considered meaningful to examine the theatrical tendencies that arise during the process of breaking down boundaries between genres and integration. By exploring the artistic concept of "theatricality" and researching the presence of theatricality within contemporary ceramics it becomes possible to look at contemporary ceramics from a new perspective. For this purpose, this study is structured as follows. In Section 1 of Chapter Ⅱ, the historical evolution of the concepts of art and theatricality within the art historical context is examined, tracing their development from ancient Greece through the Renaissance, Baroque period, and Modernism, ultimately reaching the contemporary era. In Section 2, an investigation was conducted into the methods contemporary arts employ to develop and expand upon the concept of theatricality. In Chapter Ⅲ, an analysis of the expressions of theatricality by prominent ceramic artists was conducted. The goal was to understand how contemporary ceramic artists comprehend theatricality in the current context and to examine the meanings generated through their artistic expressions within the realm of modern ceramics. Through the research procedures outlined above, it has been confirmed that the concept of theatricality, from ancient times to the present, has undergone a transformation and diversification, influenced by and influencing both theater and visual arts. The theatricality evident in Baroque art of the 17th century, for instance, conveyed a welcoming aspect, whereas in contemporary art, theatricality has become closer to signifying the perception of actual time and space.The relationship between sculpture and theater is progressively evolving towards greater integration. Sculpture is sometimes directed like actors in a play, and actors in theater productions are also directed in ways akin to sculpture, highlighting a close and interrelated dynamic. Furthermore, while in the past, the realms of time and space between theater and visual art were distinctly separated, the influence of postmodernism has blurred the boundaries between them, leading to the gradual integration of artistic genres. Sculptures constructed within a given space extend the realm of sculpture by endowing viewers with temporal and physical experiences within that space.Reinterpreted theatricality through ceramic art can be seen as a way to express contemporary directing methods, thereby creating a new form of theatricality. Applying theatricality from contemporary sculpture to ceramics is expected to diversify and expand the meaning and expression methods within contemporary ceramics. Furthermore, in contemporary art, the aesthetic and relational aspects of time and space with the audience are becoming increasingly important. In the future, when curating exhibitions, it will be necessary to think beyond traditional formats and consider the temporal and spatial relationship between the artwork and the viewer.

『리처드 3세』와 권력의 연극성

김종환(Jonghwan Kim) 한국셰익스피어학회 2016 셰익스피어 비평 Vol.52 No.3

Richard III dramatized the theatricality of political power. During the reign of Elizabeth I, the theatricality of power was practiced by the court, and the political power of a monarch was considered theatrical. Queen Elizabeth I was a monarch who knew the importance of creating a positive image and tried to appropriate the images of the political situation of England. Theatricality is an indispensable element in the process of creating images and appropriating images. Shakespeare, in his political drama Richard III, not only reflects the theatricality of political power but also the power of this theatricality. In particular, theatricality is manipulated and appropriated by Richard, a villain who usurps the English throne. This paper examines how theatricality is manipulated by Richard and how it is used to attain and enforce his political power.

『자에는 자로』에 나타난 연극의 정치성

김종환(Jong-Hwan Kim) 한국셰익스피어학회 2014 셰익스피어 비평 Vol.50 No.1

Measure for Measure dramatized the theatricality of political power. During the reign of James I, theatricality of power was practiced by the court, and the political power of a monarch was considered theatrical. Shakespeare`s Measure for Measure is was performed at James I`s court at Christmas in 1604, and the Duke in the play was recognized as a flattering portrait of James I. Resemblances between the Duke in the play and James I are found in their attempts to create their own positive images and in their appropriation of the images. The Duke Vincentio is the dramatic equivalent of a divine providence that is “powerful, beneficent and ubiquitous,” and James I practiced this benign providence in the real political setting. Theatricality is an indispensable element in the process of creating and appropriating the images. In Measure for Measure, Shakespeare not only reflects the theatricality of the political power but also the power of this theatricality. In particular, the theatricality was manipulated and utilized by the Duke. This paper examines how theatricality is manipulated by the Duke, and how theatrical trickery is appropriated to enforce his political power.

예브레이노프의 ‘일상 속의 연극성’과 동시대 관객 주도형 퍼포먼스 - 포트 B의 < 완전 대피 매뉴얼(The Complete Manual of Evacuation >을 중심으로

김주연 ( Kim Ju-yeon ) 한국연극교육학회 2020 연극교육연구 Vol.37 No.-

Now that the prolonged Corona virus has made it physically difficult to get to the theater, the question of how to meet the theater is becoming important these days. In this situation, this paper attempts to shed light on Nikolai Evreinov’s theatrical theory, that he wanted to find the meaning of the theater in daily life, not on the stage. The most important point of the various theatrical theories that Ereinov unfolded a century ago is that he brought the theater to our lives, daily lives, not to the stage. Focusimg on Evreinov’s theatrical theory, who sought to find the theater in personal life and daily life, this paper introduced the concepts of ‘theatricality in everyday life’ and ‘theater for oneself’ among his theatrical theories. In addition, in order to understand how these theories can be implemented in concrete and practical terms, I analyzed them in conjunction with the examples of contemporary audience dominant performances. The contemporary performance targeted for this research is Project Group Port B's < The Complete Manual of Evacuation >. The performance is in line with Evreinov’s concept of ‘theatricality in daily life’ in that it creates theatrical moments in normal daily life by using the most ordinary space as the stage, not a specific space. In addition, there is also a connection with Evreinov’s concept of ‘theater for oneself’ in that the audience participates in the performance as an individual rather than a part of the collective crowd, and completes the performance with their own choices and wills. Meanwhile, < The Complete Manual of Evacuation > aims to escape from the harsh reality through deviations from everyday life. In other words, this performance suggested the theater as a moment and space to evacuate from life. This can also be seen as a connection with Evreinov’s theatrical theory, who believed that ‘making a life theatrical’ is the only way to save ourselves from cruel life and reality.

크라우스의 연극성 비판과 후기구조주의 조각비평의 전개

최병길 범한철학회 2009 汎韓哲學 Vol.53 No.2

I argued that Krauss's post-structuralist sculpture critique was begun with the criticism of the concept of theatricality. For both her and Fried, the criticism of that concept was on the literal characteristics of minimalist sculpture. It was to criticize that literalism induces the audience to recognize sculptures not by a transcendental way, but by a theatrical way. At first, Fried observed the literalist artworks from the viewpoint of contrast between shape and objecthood. Here his argument was that it has to lay stress upon the concept of theatricality by protecting the objecthood. Thus he said that the way that the artwork recovers the original feature is to return to the original shape the artwork has. And he said about the difference between presence and presentness in the process of discussing the objecthood of minimalist sculpture. Presence is related to theatricality, a self-consciousness to require for attending to the situations of contemplation, whereas presentness is connected with the constant present, a condition that art has to aspire for. Thus he argued minimalist sculpture pursued for presence so that it lost the importance of original quality and concept of value of the artwork. But on the other hand, he equivocated the point of his argument by saying that such an ideal presence also discloses the characteristic of minimalism. Krauss took on a sceptic attitude for such Fried's criticism of the concept of theatricality. She raised an objection against the concept of presentness that Fried suggested as the characteristic of modernist sculpture. She regarded presence as the grace of God rather than him, and suggested a frame, structuralism, as its alternative. By suggesting a structuralistic method such as Greimas's diagram, she rejected the autonomy of artwork, and attempted to transform its temporal development into spatial structure. She saw that it would be possible for translating the vocabulary of art history into the structuralist term. She admitted the historical development of art through that diagram, but was put into a dilemma that she has to supplementarily explain the reason in a historical way. She could not help causing a friction with the artist's desire to create in the course of explanation. For the Greimas's diagram appeals to the structure of a text, and comes to be fallen into the state of impersonalization. It was to negate an appeal to the artist's desire to create that has been traditionally protected. She indicates it as inaccurate when raising the arbitrariness of this tradition. In addition, she rejected a historical definition of art and suggested an ahistorical one, judging that there is a danger that the structuralist analysis can be as arbitrary as historical narratives. Therefore she, as an alternative of the structuralist theory, came to suggest the semantics and the formless theory. She tried to stand away from an appeal to the artist's desire to create through a suggestion of art history to accept the level that the sign and social structure excel the capture of the individual. Through a development of such poststructuralist art criticism, she prepared a basis enough to criticize the sculptures in the 1990s. In particular, she advised to observe the characteristics of the contemporary sculptures under the connection of text with context by accepting G. Bataille's formless theory, and attempted to overcome dualism with a pursuit of the concept of materialism. In recent times, such an attempt got results in developing a new approaching method to project the boundary of sculpture into that expanded culture, by positively accepting diversity of the postmodern culture. 캐리어는 크라우스의 후기구조주의 조각비평의 시발점을 미니멀리즘 조각의 직역주의적 특성인 연극성 개념을 비판했던 프리드의 관점에 두었다. 그것은 조각의 대상성을 주장했던 방식에 대한 이의제기로서 직역주의는 관람자를 초월적인 방식이 아니라 연극적인 방식으로 지각하도록 유도함으로써 저급한 단계로 강등시킨다고 보았기 때문이다. 따라서 그는 작품의 대상성보다는 형상의 구현이 초점을 맞추었는데, 그것이 바로 그 작품이 지니고 있는 본래의 모습으로 되돌아가는 것이라고 믿었기 때문이다. 그는 미니멀리즘 조각이 추구했던 대상성이 현전성을 추구함으로써 미술작품의 본래적 특질과 가치 개념의 중요성을 상실했다고 보았지만, 다른 한편으로는 현전성의 특징도 거론함으로써 자신의 논지를 흐리게 했다. 크라우스는 바로 이러한 프리드의 연극성 개념 비판에 대하여 반론을 제기했다. 그녀는 오히려 현재성을 신의 은총으로 간주하면서 개개의 작품들은 미술사 속에서 위치가 설정되어야만 한다는 확신 아래서 구조주의라는 하나의 틀을 제시했다. 그레마스 도해와 같은 구조주의 방식을 제시함으로써 미술작품의 시간적 발전을 공간적 구조로 전환시키고자 했다. 그 결과 미술의 역사적 발전은 용인할 수 있었지만, 그 이유를 역사적으로 보충 설명해야만 하는 딜레마에 빠졌다. 그런데 그레마스 도해는 텍스트의 구조에 호소하는 것으로서 비개성화의 상태에 빠지기 때문에 그녀는 그 설명의 과정에서 예술가의 창작 욕구와 마찰을 빚을 수밖에 없었다. 아울러 그녀는 역사적인 화술만큼 구조주의 분석도 임의성을 띨 위험성이 있다는 판단 아래서, 미술의 역사적인 정의를 거부하고 비역사적인 정의를 제시하기에 이르렀다. 그녀가 구조주의 이론의 대안으로서 기호학과 무형식성 이론을 제시했던 이유이다. 그것은 예술가의 창작 욕구에 대한 호소를 피할 수 있게 했으며, 그러한 후기구조주의 미술비평의 전개를 통하여 1990년대 조각작품을 평가할 수 있는 근거를 마련했다. 특히 그녀는 바타이유의 무형식성 이론을 수용하여 당대 조각작품의 특성을 텍스트와 콘텍스트의 연관성 속에서 고찰할 수 있게 되었으며, 그의 물질주의 개념을 추종하여 이원론을 극복할 수 있었다. 그러한 시도는 현대에 이르러 포스트모더니즘 문화의 다양성을 적극적으로 수용함으로써 조각의 영역을 그 확장된 문화 속으로 투영하는 새로운 접근방식을 전개하게 된 것이다.

모노드라마 『어느 학술원에 드리는 보고』의 연극성에 관한 연구 - ‘빨간 피터의 고백’, ‘이원승이 원숭이’를 중심으로 -

이원승 한국연기예술학회 2018 연기예술연구 Vol.11 No.1

이 연구는 모노드라마를 통해 드러나는 기호적 연극성에 대해 문헌분석을 통해 알아보고자 한 것이다. 1917년에 발표된 카프카의 단편 『학술원에 드리는 보고』가 극예술의 중심에 ‘기호의 기호’인 배우 혼 자서 연극적 실천을 재현 하는 모노드라마 형식으로 <빠알간 피터의 고백>, <이원승이 원숭이>로 해석된 상이한 공연 텍스트를 기호적 관점에서 양면적 연극성을 연구한 것이다. 이 연구를 나타난 결과를 정리 하면, 첫째, 모노드라마는 배우 혼자서 공연하는 것이 아니라 관객을 배우삼아 공연되는 것이라는 점이다. 둘째, 연극성 기호는 사건이 기호로 발화되어 상징성과 은유성을 내포하게 되며, 인간의 삶에서 상징 성은 절대성으로, 은유성은 변화를 내포하고 있다는 점이다. 셋째, 공연에서 양면적 연극성의 동일성은 공통 텍스트의 골격을 바탕으로 두 공연 텍스트가 재해석된다. 원숭이가 인간적 언어 습득의 동기화로 변화된 삶의 환경과 추구성에 관련된 자기 고백적 보고 내용이 기본 골격이다. 상이성은 공통 텍스트가 연출 관점, 구성의 접근 방법, 연기의 해석 양식에 따라 상이하게 무대화 된다는 점이다. 이에 본 연구는 추송웅과 이원승이 동일 텍스트인 『학술원에 드리는 보고』의 공연에서 추구한 동일성과 상이성의 연극성 발견을 목적으로 한다. The study examines both-sided theatricality of the two different monodramas, <Confession of Red Peter> and <Lee Won-seung is a Monkey>, created by dramatizing Kafka’s short story 「Report to an Academy」 published in 1917, in terms of sign. The mono drama means that a stage actor, ‘sign of signs’ in the center of the dramatic art, plays alone. Same point in both-sided theatricality is that two drama texts are reinterpreted based on the same text skeleton. In other words, the main frame is that a monkey narrates, in the form of the report, one’s story of trying to adapt oneself to changed environment while learning a human language. Different point in both-side theatricality is that two drama texts are differently enacted depending on viewpoint of direction, approaching way in a plot and interpretation style of acting. The drama texts is worth studying in that the actor imitates gestures of a monkey, not a human, which is more dramatic, and stage symbolization of one actor is an unique style. The researcher looks into stage acting expression and environment of the monodrama. Theatricality of two performance texts is complicated with symbolized deformation and is explained with sign system such as indicator on the map and symbol. Based on this, the study examines the relation of the two performance texts including the sameness and difference. By widely expanding the monodrama, drama style of one actor, the study analyzes the stage symbolization process of the actor as theatricality.

그레이엄 하먼의 객체지향존재론과 관객 객체의 과잉 문제

심현섭 한국미학예술학회 2024 美學·藝術學硏究 Vol.71 No.-

This paper discusses the issue of the autonomy of works of art, which is weakened by excessive audience intervention when applying Graham Harman’s Object-Oriented Ontology. Harman applies this theory to art because beauty, which is the essence of art, comes from the tension between real objects and sensory qualities. Art consists of tension between the work and the audience that tries to grasp the reality and nature contained in it. The cause of this tension is the metaphor inherent in the work. Harman argues that the form of metaphor is theatricality, and that this theatricality is a key element of art. Harman derives his argument from Michael Fried’s theatricality. I argue that Harman overlooked the fact that Fried also does not deny the intervention of the audience, and the difference between Fried’s and Harman’s theatricality is due to the separation of literalism and theatricality. Harman’s misunderstanding resulted in excessive audience intervention, and therefore has excessively weakened the autonomy of the art. I argue that Harman’s argument harms the equality and symbiosis of objects that he advocates and Fried’s discussion of theatricality, which evokes the autonomy of art, is still valid today for the symbiosis of the audience and the artwork.

Intermedial Theatricality: Verbal-Visual Irony in Stoppard’s After Magritte

박희본 한국영미어문학회 2014 영미어문학 Vol.- No.114

This paper traces and identifies intermedial theatricality in Stoppard’s early play After Magritte (1970), showing how this is used to illustrate themes such as the discrepancy between appearance and reality, or the notion that reality can be more mysterious than fiction, by ironically reworking and re-playing the conventions of precursor visual texts. As the pun in the play’s title suggests, After Magritte challenges the way we see what we see and explores the way art defines reality. Using the illusion of Magrittean visual qualities on stage, via the crucial opening and closing tableaus, Stoppard comically situates the reader/audience in the in-between space of the absurd and the rational, and of the dark and the light, while raising questions about the logic of normality and the errors of interpretation. The farcical yet serious complexity of perceptions portrayed in After Magritte is characteristic of Stoppard’s work, along with the verbal wit and logical congruity, marking this play as fully deserving its place in the appreciation of these displays of comic theatricality.

“I Remember You Lying Dead”

Cho, Yeoniee(조연이) 한국현대영미드라마학회 2018 현대영미드라마 Vol.31 No.1

This essay investigates what is “theatrical” about Old Times, Pinter’s representative memory play, which has been hailed by many critics for its filmic experiments. At the center of these filmic readings lies the problematic presence of Anna in the opening scene and Kate’s flashback sequences. Critics have so far tried to explain Anna’s “dumb,” “untimely” presence on stage before her arrival on the narrative plane as Pinter’s filmic adaptation for convenient switching of scenes which proves his ease in “moving between the media” (Gale 89). Without falling short of proving the dexterity of the medium, however, Anna’s seeming “inelegant” existence in the opening serves to redefine/reaffirm theatricality. Rather than being confined to the closed economy of the filmic/the dramatic, Anna’s existence straddles both the fictional and the literal, the present and the past, and the live and the virtual, foregrounding theatre as a space where what is present and what pretends to be present blend together. Kate’s performative remembering in her flashback sequences operates in a metatheatrical sensibility, rendering the present as a theatre in which the alterity of the past is realized and materialized. By conflating the representation of the past onto the present performance, Anna’s theatre-in-theatre foregrounds a discontinuity between the past and the present and disrupts the presumably coherent narrative imposed by Deeley. Mobilizing the frictions and tensions between differing levels and planes, Anna’s body in the opening and Kate’s performative remembering in the flashback sequence serve to work out a theatre as a space of alterity.

2020 코로나 시대의 연극의 한 가지 풍경 : 언택트 속 컨택트를 위한 연극적 고민들

양찬미 ( Yang Chan Mi ),남지수 ( Nam Ji Soo ) 숙명여자대학교 한국어문화연구소 2022 한국어와 문화 Vol.31 No.-

2020년 코로나 바이러스의 발생 초기 사회적 거리두기 강화 속에 공연예술계는 극장을 폐쇄하거나 온라인/스트리밍 공연 서비스에 많은 관심을 가졌고, 공적 지원 역시 이러한 형태에 집중되어 있었다. 전자는 공연계 전체를 무기력하게 만들었고, 후자의 경우 대부분이 영세한 극단인 연극현실 속에서 공공기금으로 운영되지 않는 극장들은 쉽게 계획하기 어려운 일이었다. 언택트의 상황 속 컨택트의 갈증이 더욱 커져갔고, 이에 따라 연극인들은 이러한 사회적 거리두기 지침을 준수하며 안전하게 현장에서 배우와 관객 사이, 관객과 관객 사이 거리를 유지한 채 공연을 할 수 있는 연극적 고민을 수행하기에 이른다. 2020년 한 해 선보인 여러 공연들의 실험적 시도는 포스트코로나 시대 컨택트를 전제로 한 대면 연극 및 공연예술축제를 어떻게 해야 할 것인지, 그저 관객만 마스크를 쓰고 좌석 간 거리를 두는 것보다 어떻게 하면 더 안전하게 연기하고 관람할 수 있는지 여러 방향을 제시하고 있다. 이에 본고에서는 언택트를 지향하는 코로나 시대, 여전히 컨택트의 연극성을 모색하는 몇 가지 연극사례들을 살펴보고자 한다. Under the Covid-19 pandemic of the year of 2020, Korean theatre practitioners have struggled to stage the works keeping with the rules of social distancing between the stage and audience. Many theatrical works have enthusiastically experimented the form and style to make more safe theatrical environment, not just keeping the social distance between the seats and wearing a mask as a very basic guideline. In this aspect, this study aims to research some experimental theatrical examples to grope the so-called 'contact theatricality' under the untact social atmosphere.