공연에 대한 생성 존재론적 해명 - 발생론적 관점에서의 공연 (Becoming-Ontologic interpretation of Performance)

서지정보

· 발행기관 : 한국연극교육학회
· 수록지 정보 : 연극교육연구 / 33권 / 33호 / 67 ~ 102페이지
· 저자명 : 김미현

초록

A performance is an organism made of action and movement. Performance is presenting the organization ‘body’ which is made of action and movement in front of the anonymous crowd. Deleuze doesn't admit about determining any kind of ‘body’ as a thing that already exists. A performance is a sort of ‘body’. Following Deleuze's becoming-ontology, with the thought that a performance is not a determined body, we can talk about a performance on the perspective of its occurrence. A performance is not a ‘body’ which is already made, it is a ‘body’ that is being made.
The most important aesthetic concept of Platon's artistic creation model is mimesis or representation. But there is a paradox hiding in Platon's philosophy. The eternal Idea cannot completely dominate ‘сhora’, rather, the ‘сhora’ becomes the winner. The Idea, which is the mould or the frame, presses the ‘substance’ chora to create a work but there is always a surplus out of the frame.
A performance is primarily made through body relationship but it is also the body which breaks up the show and lead to formation change. Borrowing Deleuze's pleonasm, body(or the relationship of them) is the condition that makes the performance's formation change by continuing ‘difference and repetition’.
Fischer-Lichte talk about performances as event. Performance is not a ‘work’ nor ‘text’. It is an ‘event’. The primary thing here is the interdependent body coexistence of the participants. In the ‘event’, the determination of significant action keeps on getting delayed. In the performance, the performance itself continues to formation-change by the establishment of unique perceptional arrangements.
If Fischer-Lichte discusses the performance mainly through an event as a herd effect, material effect and focuses on the boundary conversion of the performance(event), Hans-Thies Lehmann goes further down and focuses on the body level. But Lehmann does not go completely down to the body level, he focuses between the event-surface and the body level-depth.
Lehmann sees that the most definite thing that differentiates drama and post drama is a ‘matter of arranging elements like constituting constellation’. The elements constituting the performance will not determine a well-made organism nor a purpose and it won't work together like the parts in an exquisite description. Like Deleuze said, the performance will be ‘a body without organ’. The show as a ‘body without organ’, it will be a ‘body’ with cracks and ruptures everywhere.
The performance(body without organ) can be visually expressed as “the figure”, the drawing of Bacon, which Deleuze strongly focused on. Figure is the sense of power. The figure that is crushed, twisted and bundled up by the intrusion of power. In other words, the performance as the ‘figure’ will be the expose of power. Contemporary performance corresponds to Paul Klee's words: “it is not representation what we see, it is presentation what we can't see”. A performance is a dynamic place with the outside of relationship, in other words, difference itself and time, life, desire, power before it is a representation.

영어초록

A performance is an organism made of action and movement. Performance is presenting the organization ‘body’ which is made of action and movement in front of the anonymous crowd. Deleuze doesn't admit about determining any kind of ‘body’ as a thing that already exists. A performance is a sort of ‘body’. Following Deleuze's becoming-ontology, with the thought that a performance is not a determined body, we can talk about a performance on the perspective of its occurrence. A performance is not a ‘body’ which is already made, it is a ‘body’ that is being made.
The most important aesthetic concept of Platon's artistic creation model is mimesis or representation. But there is a paradox hiding in Platon's philosophy. The eternal Idea cannot completely dominate ‘сhora’, rather, the ‘сhora’ becomes the winner. The Idea, which is the mould or the frame, presses the ‘substance’ chora to create a work but there is always a surplus out of the frame.
A performance is primarily made through body relationship but it is also the body which breaks up the show and lead to formation change. Borrowing Deleuze's pleonasm, body(or the relationship of them) is the condition that makes the performance's formation change by continuing ‘difference and repetition’.
Fischer-Lichte talk about performances as event. Performance is not a ‘work’ nor ‘text’. It is an ‘event’. The primary thing here is the interdependent body coexistence of the participants. In the ‘event’, the determination of significant action keeps on getting delayed. In the performance, the performance itself continues to formation-change by the establishment of unique perceptional arrangements.
If Fischer-Lichte discusses the performance mainly through an event as a herd effect, material effect and focuses on the boundary conversion of the performance(event), Hans-Thies Lehmann goes further down and focuses on the body level. But Lehmann does not go completely down to the body level, he focuses between the event-surface and the body level-depth.
Lehmann sees that the most definite thing that differentiates drama and post drama is a ‘matter of arranging elements like constituting constellation’. The elements constituting the performance will not determine a well-made organism nor a purpose and it won't work together like the parts in an exquisite description. Like Deleuze said, the performance will be ‘a body without organ’. The show as a ‘body without organ’, it will be a ‘body’ with cracks and ruptures everywhere.
The performance(body without organ) can be visually expressed as “the figure”, the drawing of Bacon, which Deleuze strongly focused on. Figure is the sense of power. The figure that is crushed, twisted and bundled up by the intrusion of power. In other words, the performance as the ‘figure’ will be the expose of power. Contemporary performance corresponds to Paul Klee's words: “it is not representation what we see, it is presentation what we can't see”. A performance is a dynamic place with the outside of relationship, in other words, difference itself and time, life, desire, power before it is a representation.

참고자료

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