Abstract

이 연구는 저작권 창작성의 보편성과 무용 창작 특수성 간의 관계를 통해서, 무용 창작 정도에 의한 저작권으로서의 무용과 관련된 저작물의 개념과 이해를 재조명하고자 했다. 그 핵심적인 내용은 첫째, 편집저작물은 저작자자신의 무용 창작 요소들은 포함돼 있지 않지만, 기존 저작물을 선정, 배열, 재현하여 편집하는 정도의 모방 창작노력이 들어간 저작물이라고 하겠다. 둘째, 2차적저작물은 전통 또는 공유사회로부터 내려온 산발적이고 흩어져있던 춤의 문화와 구성 요소들을 저작자가 수용하고, 스스로 창작의 요소와 방식을 투영시켜 또 하나의 작품으로재창작 시킨 저작물을 가리킨다. 셋째 연극저작물은 순수 창작으로 이것은 ‘저작자의 춤의 원리, 표현 양식, 구성, 의도 등을 하나의 유형으로 만들어낸 새로운 저작물’로서, 차후 저작권으로서의 ‘무용저작물’에 상응하는 개념이 될수도 있다. 끝으로 창작의 경계선을 정확하게 아는 사람은 저작자이다. 스스로 정직하고 정의로운 마음으로 춤을 만들기바란다.his study’s purpose was to propose the definition and classification on dance artwork as an intellectual property according to the degree of creativity through an understanding of the creativity and nature of intellectual property and dance. The main point is that dance creativity in Intellectual Property can be classified into three degrees, the first being an edited work with the nature of a imitated creation. Such work does not include original creative factors of the creator, but involves effort to select, align, and edit other existing works. The second degree of creativity is work that is a derivative works. This refers to work that is revived into a separate piece of work through the creator’s creative elements and methods by accepting shared and traditional art elements. In this study, it is referred to as a shared (traditional) recreated work. The third and last degree of creativity is a purely original piece of dance artwork. Such work demonstrates the creative power of its creator of embodying a non-existent form by means of bodily movements in an original style. This includes new works formed by freely expressing the creator’s internal and external factors, composition, and principles. On a last note, since intellectual property laws seek for just balance, dance artists must look beyond their individual advantages when giving birth to new dance works with a candid and just attitude. The creator is the one that best understands the boundaries of creative works.

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