무용은 종합예술이다. 이러한 점에서 무용은 문학이나 미술과는 다르다. 무용이 감상되기 위해서는 무용화 되어야 하며, 창작이 완료되어도 다시 충분한 연기를 가능케 하기 위한 작업은 계속되기 때문이다. 훌륭하게 창작된 무용이라 하더라도 훌륭하지 못한 무용의 조건수단이나 보조수단으로 인해서 그 예술적 가치가 올바르게 평가되지 않는 경우도 있다. 따라서 한 예술품으로서의 무용은 안무자가 갖추고 있을 전문적인 식견과 예술적인 재능에 상비례 해서, 하나의 가치로 승화될 수도 있고, 반대로 별 볼일 없는 단순한 행위 현상으로 전락 해 버릴 수...
무용은 종합예술이다. 이러한 점에서 무용은 문학이나 미술과는 다르다. 무용이 감상되기 위해서는 무용화 되어야 하며, 창작이 완료되어도 다시 충분한 연기를 가능케 하기 위한 작업은 계속되기 때문이다. 훌륭하게 창작된 무용이라 하더라도 훌륭하지 못한 무용의 조건수단이나 보조수단으로 인해서 그 예술적 가치가 올바르게 평가되지 않는 경우도 있다. 따라서 한 예술품으로서의 무용은 안무자가 갖추고 있을 전문적인 식견과 예술적인 재능에 상비례 해서, 하나의 가치로 승화될 수도 있고, 반대로 별 볼일 없는 단순한 행위 현상으로 전락 해 버릴 수도 있다. 때문에 안무자는 창조작업의 주도자이면서 제작과정에서의 관리자여야 하고, 결과치에 대한 피할 수 없는 부책자가 되어야만 하는 것이다. 무용작품을 만든다고 하는 경우의 무용은 무용예술로서의 무용을 전제조건으로 한다는 것이며, 그것은 예술로서의 형식을 갖춘 무용을 만드는 것을 말하는 것이다 그러므로 본 논문은 창작무용으로서의 예술적 형식을 갖춘 무용작품을 구성하고 제작하는데 필요한 안무자의 역할과 기능에 필요한 이론적 배경으로 무용이 갖는 특성과 연출의 일반적인 개념에 대해 서술 하였다. 무용과 연극은 비록 장르는 다르지만 조형예술로서 무대에서 관객과 만난다는 현장예술의 개념에서 볼 때, 연극의 연출적 이론이 실제 무용에서도 적용 가능한 범위를 두고 있기에 본 논문에서는 이에 대한 고찰이 있었고, 또한 무용작품의 보다 나은 표현상승의 효과를 거두기 위한 무용요소로서, 움직임의 시·공 형성의 원리와 시간구조를 통한작품의 구성요소, 그리고 움직임이 이루어지는 장소에서의 미적인 이미지 표현에 있어 무용과 상관되어지는 보조수단의 이해, 그것을 담당하는 다자이너와 안무자의 상호간 협력, 조력할 수 있는 방법론을 찾아 열거해 보았다. 무용의 미를 감상하는 것은, 그 무용 자체에서 전달하는 미적 감흥, 다시 말해서 종합예술로서 무용이 작품으로 형상화 되어 무한한 예술적 메세지를 감상하는 이에게 보내어 줄 때만이 가능한 것이다. 그러므로 본 논문은다음의 사항에 연구의 중요점을 둔다. 첫째, 안무자는 종합예술로서의 무용이 갖는 특질을 파악함에 있어서 무용의 본질적 이론 및 배경에 대한 폭넓은 지식의 기반 습득. 둘째, 타 장르의 조형예술로서 연극분야의 연출적 개념의 이해로 말미암아 이를 무용분야에도 적용시킬 수 있는 접목성의 기능 셋째, 독무 이건 군무이건 무대 위에서 이루어지는 일체의 시·공적 작위, 이를테면 배치, 대형, 전이 등 과 관계하는 형상적 기능, 그리고 무용수와 무용수, 무용수와 입지공간으로 이루어지는 역학적 관계를 비롯하여 방향, 각도, 고도 등등에 따르는 기하학적인 형성원리에 입각하여 제작되는 창작무용의 표현상승의 효과를 위한 연출적 구조의 활용, 그리고작품의 보다 극적인 전개를 위한 시간구조를 이해. 셋째, 신체의 언어인 무용이 공연을 전제로 하여 준비되는 만큼, 무대 공간이 갖는 각각의 미적 특질을 파악, 즉 무대에서 연기공간의 효율적인 연출. 넷째, 무용작품이 공연으로서 관객과 만남에 있어서 회화성과 연계되는 폭넓은 심미안을 가지고서, 수반되어지는 무대상의 장치, 그 속에서 이루어지는 명암, 음양, 농담의 효과적인 운용. 그리고 무대 상호 협력자들과의 효율적인 조력.
무용은 종합예술이다. 이러한 점에서 무용은 문학이나 미술과는 다르다. 무용이 감상되기 위해서는 무용화 되어야 하며, 창작이 완료되어도 다시 충분한 연기를 가능케 하기 위한 작업은 계속되기 때문이다. 훌륭하게 창작된 무용이라 하더라도 훌륭하지 못한 무용의 조건수단이나 보조수단으로 인해서 그 예술적 가치가 올바르게 평가되지 않는 경우도 있다. 따라서 한 예술품으로서의 무용은 안무자가 갖추고 있을 전문적인 식견과 예술적인 재능에 상비례 해서, 하나의 가치로 승화될 수도 있고, 반대로 별 볼일 없는 단순한 행위 현상으로 전락 해 버릴 수도 있다. 때문에 안무자는 창조작업의 주도자이면서 제작과정에서의 관리자여야 하고, 결과치에 대한 피할 수 없는 부책자가 되어야만 하는 것이다. 무용작품을 만든다고 하는 경우의 무용은 무용예술로서의 무용을 전제조건으로 한다는 것이며, 그것은 예술로서의 형식을 갖춘 무용을 만드는 것을 말하는 것이다 그러므로 본 논문은 창작무용으로서의 예술적 형식을 갖춘 무용작품을 구성하고 제작하는데 필요한 안무자의 역할과 기능에 필요한 이론적 배경으로 무용이 갖는 특성과 연출의 일반적인 개념에 대해 서술 하였다. 무용과 연극은 비록 장르는 다르지만 조형예술로서 무대에서 관객과 만난다는 현장예술의 개념에서 볼 때, 연극의 연출적 이론이 실제 무용에서도 적용 가능한 범위를 두고 있기에 본 논문에서는 이에 대한 고찰이 있었고, 또한 무용작품의 보다 나은 표현상승의 효과를 거두기 위한 무용요소로서, 움직임의 시·공 형성의 원리와 시간구조를 통한작품의 구성요소, 그리고 움직임이 이루어지는 장소에서의 미적인 이미지 표현에 있어 무용과 상관되어지는 보조수단의 이해, 그것을 담당하는 다자이너와 안무자의 상호간 협력, 조력할 수 있는 방법론을 찾아 열거해 보았다. 무용의 미를 감상하는 것은, 그 무용 자체에서 전달하는 미적 감흥, 다시 말해서 종합예술로서 무용이 작품으로 형상화 되어 무한한 예술적 메세지를 감상하는 이에게 보내어 줄 때만이 가능한 것이다. 그러므로 본 논문은다음의 사항에 연구의 중요점을 둔다. 첫째, 안무자는 종합예술로서의 무용이 갖는 특질을 파악함에 있어서 무용의 본질적 이론 및 배경에 대한 폭넓은 지식의 기반 습득. 둘째, 타 장르의 조형예술로서 연극분야의 연출적 개념의 이해로 말미암아 이를 무용분야에도 적용시킬 수 있는 접목성의 기능 셋째, 독무 이건 군무이건 무대 위에서 이루어지는 일체의 시·공적 작위, 이를테면 배치, 대형, 전이 등 과 관계하는 형상적 기능, 그리고 무용수와 무용수, 무용수와 입지공간으로 이루어지는 역학적 관계를 비롯하여 방향, 각도, 고도 등등에 따르는 기하학적인 형성원리에 입각하여 제작되는 창작무용의 표현상승의 효과를 위한 연출적 구조의 활용, 그리고작품의 보다 극적인 전개를 위한 시간구조를 이해. 셋째, 신체의 언어인 무용이 공연을 전제로 하여 준비되는 만큼, 무대 공간이 갖는 각각의 미적 특질을 파악, 즉 무대에서 연기공간의 효율적인 연출. 넷째, 무용작품이 공연으로서 관객과 만남에 있어서 회화성과 연계되는 폭넓은 심미안을 가지고서, 수반되어지는 무대상의 장치, 그 속에서 이루어지는 명암, 음양, 농담의 효과적인 운용. 그리고 무대 상호 협력자들과의 효율적인 조력.
The fact that dancing has always existed from the start of human history and through all the ages proves the value of dancing. The reason why a lot of people have interests in dancing is that it is chosen and organized from our daily movement of body, and have also always coexisted with human lives....
The fact that dancing has always existed from the start of human history and through all the ages proves the value of dancing. The reason why a lot of people have interests in dancing is that it is chosen and organized from our daily movement of body, and have also always coexisted with human lives. Like the history of other arts, a dance has been transformed by changes in attitudes or emotions of people, and in human's concept of arts. Thus, it can be said that the history of dancing is rather the history of changes of views which people would experience when they build their ideals than the chronicle of dancing techniques or forms. The mankind have made and developed dancing from the prehistoric age. This art with no order, however, has been kept its life through the incessant efforts of talented individuals. That is, the transition of dancing has just been made by specific minority with an inherent talent who understood the ways of collecting and linking various body movements, and their spiritual inspiration has also changed a dance. The appearance of pioneers in each field of dancing has brought innovative changes, and people came to recognize that a dancer should look like a human being not like a machine which performed dancing techniques completely. Techniques should change by the changes of theme, and music and stage sets should also reflect elements of comtemporary patterns. As we are well aware, the art of dancing is the action of dancer that expresses abstract ideology of human lives on the stage with various supplementary tools like music, stage setting, lighting, and clothes. In other words, dancing is a composite art that is expressed and transferred visually through time and space. The aim of perform is to heighten the dramatic effects by utilizing these supporting tools. The comtemporary art of stage is composed of a lot of complex and professional fields, and reflection of subjective views of related people including a choreographer, a produce, a scenic designer, a sound director have expanded. Instrumental elements like sound facilities and lighting equipments are mobilized as tools for empathy. So, it may be fairly be said that a choreographer who designs and arranges a dance using these supplementary tools also plays a role as a producer at the same time. Considering the fact that making a dance has something to do with the production of a play, a choreographer can be said to have more functions and roles than those of a producer. When we regard making a dance as a choreographer's work and designing or linking the overall flow of a work of dance as a producer's work, we will confront difficult problems of how to categorize their scopes of work. If a choreographer's concept and image of a dance are well balanced with those of a producer, the work of art can produce more dramatic effects than previously expected. On the other hand, a work can be designed contrary to the initial intention of a choreographer and fail to send original images of the work to spectators. Considering the fact that a work of dance can't be exist in the absence of a choreographer while it can be made without a prod ucer, it can be said that a choreographer is a interpreter, functioned, person of a composit art, manager, teacher, leader, and writer. Accordingly, this thesis is to inquire into the theoretic background required to be a dancer as an all-round entertainer in the 21st century where the logic of intellectual property rights is working, and into the overall requirements to have functions and roles both as a choreographer and as a producer. And, my thesis is also to suggest ways to make a work of dance smoothly developed by acquiring knowledge related to various fields which is composing a work of dance in order to recognize the importance of each divided field of the art and to streamline the process of making a work of dance. This thesis aims at making clear the scope of its possible application to a real work of dance by studying theatrical techniques among various stage skills required to create a work of dance. To suggest that the application of theatrical techniques are not confined to the theater and can be expanded to the field of dance, this thesis is focusing upon acquiring knowledge about theatrical techniques through studying the historic background of theatrics, the role of a producer, qualification of a skilled dancer, and a choreographer's role and function in the aspects of assistance in a dance drama and production techniques. While most of existing theses inquired into a theatrical technique of a producer in a work of dance, this thesis divides the roles of a choreographer and a designer focusing upon the role of a choreographer. It also aims at grasping the principles of forming time and space through makeup of the piece of work. It is also to understand the function and entity of a stage space where a dance is performed as a basic knowledge needed for smooth flow of a dance drama and to make further inquiries into the conception and characteristics of a stage space. This thesis also suggests ways by which a stage designer and a choreographer who have close relationship in the process of producing a work of dance can work as partners, and intends to study the role and function of a choreographer in seeking the goal of maximized expression. Regarding the limitation of study, this thesis doesn't distinguish the conception of a creative dance by genre, but it mainly inquiries into ballet. This thesis doesn't confine principal aspects to a ballet as it mainly deals with a creative dance, and intends to suggest that the content of a dance drama is not limited by time and find its meaning in creativity itself. Though this thesis contains some theatrical elements as it referred to some materials of the field of play, it suggests the applicable way of these elements into the field of dance drama. Finally, this thesis regards that stage-related fields have a little difference from choreography as it considers the overall flow of a play. In this thesis, a choreographer and choreographers are used as the same conception.
The fact that dancing has always existed from the start of human history and through all the ages proves the value of dancing. The reason why a lot of people have interests in dancing is that it is chosen and organized from our daily movement of body, and have also always coexisted with human lives. Like the history of other arts, a dance has been transformed by changes in attitudes or emotions of people, and in human's concept of arts. Thus, it can be said that the history of dancing is rather the history of changes of views which people would experience when they build their ideals than the chronicle of dancing techniques or forms. The mankind have made and developed dancing from the prehistoric age. This art with no order, however, has been kept its life through the incessant efforts of talented individuals. That is, the transition of dancing has just been made by specific minority with an inherent talent who understood the ways of collecting and linking various body movements, and their spiritual inspiration has also changed a dance. The appearance of pioneers in each field of dancing has brought innovative changes, and people came to recognize that a dancer should look like a human being not like a machine which performed dancing techniques completely. Techniques should change by the changes of theme, and music and stage sets should also reflect elements of comtemporary patterns. As we are well aware, the art of dancing is the action of dancer that expresses abstract ideology of human lives on the stage with various supplementary tools like music, stage setting, lighting, and clothes. In other words, dancing is a composite art that is expressed and transferred visually through time and space. The aim of perform is to heighten the dramatic effects by utilizing these supporting tools. The comtemporary art of stage is composed of a lot of complex and professional fields, and reflection of subjective views of related people including a choreographer, a produce, a scenic designer, a sound director have expanded. Instrumental elements like sound facilities and lighting equipments are mobilized as tools for empathy. So, it may be fairly be said that a choreographer who designs and arranges a dance using these supplementary tools also plays a role as a producer at the same time. Considering the fact that making a dance has something to do with the production of a play, a choreographer can be said to have more functions and roles than those of a producer. When we regard making a dance as a choreographer's work and designing or linking the overall flow of a work of dance as a producer's work, we will confront difficult problems of how to categorize their scopes of work. If a choreographer's concept and image of a dance are well balanced with those of a producer, the work of art can produce more dramatic effects than previously expected. On the other hand, a work can be designed contrary to the initial intention of a choreographer and fail to send original images of the work to spectators. Considering the fact that a work of dance can't be exist in the absence of a choreographer while it can be made without a prod ucer, it can be said that a choreographer is a interpreter, functioned, person of a composit art, manager, teacher, leader, and writer. Accordingly, this thesis is to inquire into the theoretic background required to be a dancer as an all-round entertainer in the 21st century where the logic of intellectual property rights is working, and into the overall requirements to have functions and roles both as a choreographer and as a producer. And, my thesis is also to suggest ways to make a work of dance smoothly developed by acquiring knowledge related to various fields which is composing a work of dance in order to recognize the importance of each divided field of the art and to streamline the process of making a work of dance. This thesis aims at making clear the scope of its possible application to a real work of dance by studying theatrical techniques among various stage skills required to create a work of dance. To suggest that the application of theatrical techniques are not confined to the theater and can be expanded to the field of dance, this thesis is focusing upon acquiring knowledge about theatrical techniques through studying the historic background of theatrics, the role of a producer, qualification of a skilled dancer, and a choreographer's role and function in the aspects of assistance in a dance drama and production techniques. While most of existing theses inquired into a theatrical technique of a producer in a work of dance, this thesis divides the roles of a choreographer and a designer focusing upon the role of a choreographer. It also aims at grasping the principles of forming time and space through makeup of the piece of work. It is also to understand the function and entity of a stage space where a dance is performed as a basic knowledge needed for smooth flow of a dance drama and to make further inquiries into the conception and characteristics of a stage space. This thesis also suggests ways by which a stage designer and a choreographer who have close relationship in the process of producing a work of dance can work as partners, and intends to study the role and function of a choreographer in seeking the goal of maximized expression. Regarding the limitation of study, this thesis doesn't distinguish the conception of a creative dance by genre, but it mainly inquiries into ballet. This thesis doesn't confine principal aspects to a ballet as it mainly deals with a creative dance, and intends to suggest that the content of a dance drama is not limited by time and find its meaning in creativity itself. Though this thesis contains some theatrical elements as it referred to some materials of the field of play, it suggests the applicable way of these elements into the field of dance drama. Finally, this thesis regards that stage-related fields have a little difference from choreography as it considers the overall flow of a play. In this thesis, a choreographer and choreographers are used as the same conception.
주제어
#창작무용 안무자 Creative Dance Producer
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