극단 크리에이티브 VaQi의 공동창작 특성 연구

Abstract

Collaborative creation in the field of performing art has been tried in various forms, both in Korea and abroad, as a strategy to reflect the contemporary social problems of the existing mainstream culture. Collaborative creation has often been used interchangeably with the word ‘devising’, but Bruce Baton organically used this methodology in the triangular structure of collective creation, collaboration, and devising rather than defining it as a linguistic concept. In the creative process of groups attempting collaborative creation, some common aspects are found. First, each creative material (body, light, text, space, sound, etc.) is inter-related in a horizontal composition without hierarchy. And in those groups usually different form of ‘Research’ is proceeding to build the form and content. In addition, actors participate in the whole process as creators, rather than acting a character in conventional way. Creative VaQi has been actively working in Korea and abroad for the past 10 years and has established their own collaborative creation(devising) methodology. They do not start with the text written by a single writer, but begin with the common questions of members. The question usually comes from contemporary social phenomena. In ≪Several Ways of Conversation≫ (2014), the issue of generation in Korean society was dealt with through dialogue between a Grandmother born in the 1941s and actors in the 1980. And ≪Namsan Documenta≫ (2014) formalized the relationship between the theatre and the social reality outside the theatre. In Before After (2015), the ‘Sewol Ferry Disaster’ was dealt through actor-creator''s personal stories. Several key features emerge in their collaborative creation work. First, the actors function as writers who directly write the lines they will utter on the stage from the production of concepts. Second, they conduct “site-specific” research that has a decisive effect on determining the content and format of their final works. The term “site-specific” here refers to the historical, uniqueness, and social discourse inherent in a space, and the Creative VaQi interpretate it as a “text". Third, they form a structure through choreographic composition based on the collected materials. The choreographic composition is the process of finding the primary flow from improvise arrangement and then building a semantic network through continuous combination attempts. Creative VaQi''s work often exhibits a lack of overall unity and constitutive flaws due to the nature of the collaborative creation work, which requires the creation of content, form, and complete structure within a specified period of time. Nevertheless, their attempts and results have significant figures in Korea''s performing arts scene, where literary theatre of single-writer-direction still dominate.