뮤지컬「라이온 킹」의 무용적 표현 연구 = (A) study on expressive dance movements in musical 'The Lion King'

다국어 초록 (Multilingual Abstract)

Along with the innovative flow of performing art, a musical is viewed as a form of art that is grounded in rationality and scientificity, gains popularity and best addresses the cultural needs of modern people(Cha Tae-ho, 1998).
A musical is a well-structured drama that takes advantage of music and dance to play up the development of the plot. Despite a short history of two hundred years, that has evolved into composite art that features the expressive characteristics of multiple genres such as dance, play, music, mime, image and fine arts. Musical makes up a great portion of stage art that gains popularity, and dance, singing and acting serve as major vocabularies of it. So dance is very meaningful and significant in the area of musical, and that doesn't merely function as a decorator nor just aims at creating dramatic ambience(Kim Sun-ah, 1998). In the beginning, musical was only an enjoyable drama that combined music and dance. Currently, however, that is more dramatic than before and shows a perfect and specialized harmony among music, dance, acting, costume and stage setting(Heo Hyeon-ju, 2003).
Musical 'the Lion King,' which was selected in this study, is based on a same-titled 1994 American animated feature film produced by Walt Disney, which received the Oscar Award. Julie Taymor, the director of the musical, created unique expression styles by capitalizing on several tools such as costume, masks and dolls to portray the characteristics of different animals in wild African savanna. The musical actualized what was impossible to do by successfully performing the 2D animated film on the 3D stage. That attempted to link musical to other multi- dimensional genres, and is thereby called a holistic musical that is in line with the flow of performing art.
The purpose of this study was to interpret dance-related scenes of Musical 'the Lion King,' and to examine dancing scenes and the characteristics of the movements of the characters. It's basically meant to explore the possible impact of dance on the expression and vocabulary of musical drama.
Relevant literature was reviewed to look into the backdrop, components and historical background of the musical, and the script of it and newspaper articles about that were analyzed.
The findings of the study about the characteristics of Musical 'the Lion King' were as follows:
First, the musical made an attempt to integrate itself with other multi- dimensional genres, and that could eventually be called a holistic musical that kept up with the flow of performing art.
Second, the dancers visualized the looks of the animals in a perfect manner by moving themselves in combination with props that showed the unique features of the animals.
Third, the visualized integration between human bodies and animals was fulfilled in the musical, which led to a perfect, simplified dance composition suitable for each of the animal characters. Thus, the function of dance was enlarged in the musical as one of its mandatory elements.
This study made it clear that it's possible to open a new chapter for musical dance by developing unique ideas about the integration with other genres. Writers, directors, composers and dance directors should join forces in producing a more perfect musical, and professional and well-experienced musical directors should be nurtured. In addition, future research efforts should be channeled into analyzing more musicals in order to keep extending the sphere of dance in the field of musical.

국문 초록 (Abstract)

공연예술분야의 변혁적 흐름 속에서 뮤지컬은 현대문명의 가장 큰 특성인 합리성과 과학성, 대중성이 혼합되어 현대인의 문화적 욕구를 가장 적절히 반영하는 예술형태로 평가받고 있다(차태호, 1998).
뮤지컬은 음악과 춤이 극의 플롯전개에 긴밀하게 짜 맞추어진 연극으로 불과 200년의 짧은 역사에도 불구하고 무용과 연극, 음악, 마임, 영상, 미술 등 각 장르들의 표현적 특성을 지닌 복합 예술적 성격을 띠고, 각 나라 특유의 소재를 혼합하여 미국과 유럽을 포함한 여러 나라에서 대중들의 사랑을 받고 있다. 대중적이면서도 무대예술에서 두드러진 활동을 보여주고 있는 뮤지컬은 춤과 노래, 연기를 주 예술표현으로 활용하고 있어 뮤지컬에서의 무용은 장식적이거나 극적으로 통합된 분위기를 조성해주는 것 이상의 의미를 지닌다(김선아, 1998). 현재 뮤지컬은 과거 연극 속에 음악과 무용이 적당히 혼합되어 부담 없이 즐길 수 있는 초기의 형식을 벗어나 드라마틱한 성격에 음악, 무용, 연기, 의상, 무대장치 등 각 분야가 전문적이고 세부적인 완성도를 기여하면서 총체적인 조화를 이루어내고 있다(허현주, 2003).
이 연구에서 선정한 뮤지컬 「라이온 킹(Lion King)」은 1994년 오스카상 수상작인 미국 월트 디즈니의 애니메이션 영화 “라이온 킹”을 각색한 작품으로 연출가 쥴리 테이머는 아프리카의 광대한 사반나의 각기 다른 동물의 특성을 표현해내기 위하여 의상, 가면, 인형 등의 도구를 이용한 독특한 표현 방식을 창조해 냈다. 뮤지컬 라이온 킹은 2D 애니메이션을 3D 무대에서 성공적으로 공연함으로써 불가능을 가능으로 실현시킨 작품으로 다차원적인 타 장르와의 접촉을 시도하여 공연예술분야의 시대적 흐름을 반영한 총체적 뮤지컬의 특성을 지니고 있다.
이 연구는 뮤지컬 「라이온 킹(Lion King)」을 기반으로 뮤지컬이 지닌 여러 요소들 중에서 무용과 밀접하게 관계되는 장면별 해석, 무용장면 분석, 캐릭터에 나타난 움직임의 특성 등을 다루어 무용을 통해 뮤지컬 극의 전달 방식과 표현에 영향을 미칠 수 있는 가능성을 확인하는데 그 목적이 있다.
연구목적을 달성하기 위하여 문헌을 중심으로 뮤지컬의 전반적인 배경 및 구성 요소와 역사적 배경을 이론적으로 고찰하였으며 라이온 킹의 작품 대본 및 보도 자료를 바탕으로 하여 연구 분석하였다.
이상으로 뮤지컬 라이온 킹에 나타난 특성을 고찰한 결과는 다음과 같다.
첫째, 뮤지컬「라이온 킹(Lion King)」은 다차원적인 타 장르와의 접촉을 시도함으로서 공연예술분야의 시대적 흐름을 반영한 총체적 뮤지컬의 특성을 지닌다.
둘째, 라이온 킹은 무용수들이 동물의 특징이 나타난 소도구들과 함께 결합하여 움직임으로써 완벽한 동물의 모습을 형상화하였다.
셋째, 라이온 킹에서의 무용은 사람과 동물간의 신체 결합의 시각화에 성공하여 각각의 동물 캐릭터와 부합되는 단순화된 안무를 완성시킴으로 뮤지컬 내에서의 필수적 요소로의 춤 기능을 확대시켰다.
이에 이 연구를 통해 타 장르의 결합을 도모하는 독특한 아이디어 개발에 힘써 새로운 뮤지컬 무용의 장르를 개척할 수 있는 가능성을 확인할 수 있었으며 아울러 작가, 연출가, 작곡가, 안무가들의 공동 작업을 통해 완성도 높은 뮤지컬이 만들어지고 그 속에서 전문적인 지식과 다양한 무대경험을 지닌 뮤지컬 안무자를 배출하는데 노력을 아끼지 않아야 할 것으로 생각된다. 특히 무용적 요소를 포함하고 있는 뮤지컬의 타 작품들에 대한 체계적인 후속연구를 통해서 뮤지컬 작품 속에서의 무용 역할 확대를 계속적으로 이루어 나가야 하겠다.

목차 (Table of Contents)

• Ⅰ. 서론 ······································································ 1
• 1. 연구의 필요성 및 목적 ··········································· 1
• 2. 연구의 방법 ·························································· 4
• 3. 연구의 제한점 ······················································· 4
• Ⅱ. 뮤지컬에 나타난 무용적 요소······························· 5
• 1. 뮤지컬의 발달 과정 ········································· 5
• 2. 무용의 형태와 구조 ············································· 9
• 3. 무용의 극적 기능················································· 13
• 4. 타 작품속에 나타난 무용적 요소··························· 16
• Ⅲ.「라이온 킹(Lion King)」의 작품 배경 ······················· 19
• 1. 줄리 테이머(Julie Taymor)의 연출 성향 ················· 19
• 2. 가스 페이건(Garth Fagan)의 안무적 성향 ··············· 23
• 3. 작품 줄거리 ······················································· 24
• 4. 등장인물의 특성 ················································· 29
• Ⅳ.「라이온 킹(Lion King)」에 나타난 무용적 표현 ···········32
• 1. 장면별 해석 ······················································· 32
• 2. 도구를 접목시킨 무용장면해석 ····························· 44
• 1) 가면 ······························································ 44
• 2) 의상 ······························································ 46
• 3) 인형 ······························································ 50
• 3. 캐릭터에 나타난 움직임의 특성 ··························· 58
• Ⅴ. 결론 및 제언 ························································ 62
• 참고문헌 ··································································· 65
• Abstract ···································································· 67