몸의 예술적 주권: 생체역학의 문화예술적 맥락

Abstract

The turn of the century in Russia at the end of the 19th century and the beginning of the 20th century was a period of intense upheaval dominated by change and innovation. During this period, Nietzsche’s ideas had a great influence on Russian philosophy, literature and art. In particular, his doctrine that the body is the origin of existence, the subject of cognition, and human identity leads the formation of dance culture in the early 20th century. Duncan’s free dance, dedicated to expressing the Dionysian ecstasy mentioned by Nietzsche, is a symbol of resistance against the oppressive culture and has become a metaphor for freedom and liberation. Thanks to Dalcroze’s Eurydmix, which aims to foster flexible and expressive human beings through musical rhythm education, Russian dance culture expands into a daily phenomenon that anyone can easily perform. Meyerhold’s project, “Theatricalization of Physical Culture,” is an attempt to bring the energy of dance culture into theatrical art. Although it ended in misfire, the “Theatricalization of Physical Culture,” strengthened the scalability and collectiveness of the play and contributed to the establishment of biomechanics. From the mid-1920s, when the state-led body control began in earnest, the dance culture rapidly declined, and dances according to textbooks prevailed. Through this, we can understand the cultural and artistic context in which biomechanics was formed, and find out that biomechanics and dance culture are strongly involved in the cultural and artistic context at the beginning of the century.