‘아트 서커스’에 나타난 공연자의 자기 표현적 퍼포먼스 - 다니엘 핀지 파스카 연출의 < 라 베리타(La Verita) >를 대상으로 = Performer's Self-representative Performance Appeared in 'Art Circus' - Focusing on < La Verita > Directed by Daniel Finzi Pasca

다국어 초록 (Multilingual Abstract)

This study is to regard art circus as a cultural performance and to reveal the fact that the violent political culture and its parody of a sacrificial ritual shown in the art circus’ actual performance was a self-representative performance practiced by the performer.
In general, although the classical circus started as an official religious ritual, it changed into a secular instrument of propaganda in order to flaunt political and financial power of noble families. On the other hand, ‘art circus’ appeared in the 1970’s embraces modern popular circus as an entertainment culture. For this reason, the art circus composes and distributes new hierarchy within a triangular structure; subject, others, object, as a cultural performance through performer’s body and performance in the process of the performance. The performer and audience constantly reproduce historical, social and cultural memories through the process.
This study structuralizes a triangular structure; performance, event and self-productive feedback by focusing on the performative composition of an art circus < La Verita, 2017 > directed by Daniel Finzi Pasca.
Overall, this study examines the boundary between animality and humanity, the performativity of gender, and the movement of center and surroundings with the way of producing meaning of phenomenal levels of body as a potential layer regarding to memories of accepters; performers and audiences, participating in the < La Verita, 2017 >. Moreover, through the performer’s body and performance, this study considers the fulfillment of a performer’s self-representative performance involving self-reflexivity and self-referentiality which are evoked by the narrative happenings in the scene and raise various forms of cultural discussions.