고령무용수 몸의 위계와 전복 (Aging dancer’s body hierarchy and subversion)

서지정보

· 발행기관 : 한국무용교육학회
· 수록지 정보 : 한국무용교육학회지 / 34권 / 1호 / 39 ~ 49페이지
· 저자명 : 이나현

초록

This study examined the multiple layers of the perspective on aging dancer in Korean traditional dance and contemporary dance in order to discuss the emergence of the aging dancer as a emancipated subject acquired through the subverting of the double hierarchy centering on 'youth' and 'elderly'. In Korean traditional dance, there is a tradition of highly valuing the stage of senior dancers who can show a more mature beauty than younger dancers due to the aesthetic structure that pursues the perfection of the personality of the dancer and the beauty of moderation and slowness rather than the virtuosity. Even in contemporary dance, it was found that there is a culture of respect the elder dancers for their diligence and self-management to keep themselves on stage. However, as the education of young dancers is centered on techniques for competitions and entrance exams, in which young dancers' agile, strong control and excellent flexibility are emphasized.
In this environment, aging dancers are compared not only with the young dancers they dance with, but also with their own youth, and cannot be free from young and virtuosity oriented gaze. In this complex environment, if art is a matter of ‘the distribution of the sensible’, following Rancière, to be able to emerging the aging body on stage with new vision, aging dancer needs to be subjective being by subverting the hierarchy centered on ‘youth’ and ‘elderly’.
In an aging society, the problem of the elderly is that art can no longer ignore.
In contemporary dance, which is engaged various body politics, this issue seems to need to be dealt with with a sharper perspective.

영어초록

This study examined the multiple layers of the perspective on aging dancer in Korean traditional dance and contemporary dance in order to discuss the emergence of the aging dancer as a emancipated subject acquired through the subverting of the double hierarchy centering on 'youth' and 'elderly'. In Korean traditional dance, there is a tradition of highly valuing the stage of senior dancers who can show a more mature beauty than younger dancers due to the aesthetic structure that pursues the perfection of the personality of the dancer and the beauty of moderation and slowness rather than the virtuosity. Even in contemporary dance, it was found that there is a culture of respect the elder dancers for their diligence and self-management to keep themselves on stage. However, as the education of young dancers is centered on techniques for competitions and entrance exams, in which young dancers' agile, strong control and excellent flexibility are emphasized.
In this environment, aging dancers are compared not only with the young dancers they dance with, but also with their own youth, and cannot be free from young and virtuosity oriented gaze. In this complex environment, if art is a matter of ‘the distribution of the sensible’, following Rancière, to be able to emerging the aging body on stage with new vision, aging dancer needs to be subjective being by subverting the hierarchy centered on ‘youth’ and ‘elderly’.
In an aging society, the problem of the elderly is that art can no longer ignore.
In contemporary dance, which is engaged various body politics, this issue seems to need to be dealt with with a sharper perspective.

참고자료

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