해외 사례와 비교한 한국무용의 정치적 트라우마 재현과 극복 가능성

Abstract

Little specific research, in Korea, has been conducted on whether dance can overcome it by recreating the trauma caused by war or national violence. This study examines the possibility of active political participation in Korean dance by reproducing the trauma caused by national violence and applying the theory of dance and overseas cases that conveyed the message of overcoming to Korean dance creations performed at the 40th anniversary of the May 18 Democratic Movement. To this end, domestic research trends on dance, trauma, and political context are examined, and concepts related to choreography and dance are defined to find contact points with overseas cases. In addition, overseas dance cases and theories that reproduce the trauma caused by national violence are introduced, and this is applied to works performed at the 40th anniversary of the May 18 Democratic Movement. As a result of a comprehensive study of Roland Barthes' ecriture thought, which means falsehood in reality, Roland Bleiker's aesthetic politics on the premise of imperfections in the reproduction effect, and Bill T Jones's choreographer statement, which emphasized the humble choreography creation spirit, it was found that securing uncertainty and plurality in choreography creation can maximize the possibility of trauma reproduction. As a result, most of them are still limited to memorial rituals such as Ssitgimgut and Salpurichum, and it is necessary to sufficiently increase the possibility of overcoming trauma through the efforts of the audience such as victims.