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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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This dissertation aims to examine the aspects and meanings of gendered bodies in dance. For this, I analyze Jan Fabre’s「History of Tears」(2005),intertextuality. Intertextuality bodies in the work have communicable bodies. They show the intertextual bodies that can cr+eate sociopolitical discourses by displaying unbalanced fat bodies rather than well-balanced beautiful bodies. The distorted bodies become an independent body by offering an opportunity to communicate autonomously.
「History of Tears」also challenges to power-oriented space by doing carnivalesque performance in church space. It even transforms itself into a space in which people can participate and approach. Intertextuality bodies in the three works don’t work as a place for politics or direct power, but the bodies are represented as strategical bodies which reveal the essence of power by deconstructing the traditional understanding of the bodies and presenting a new understanding of the body.
The Intertextuality bodies in the works perform a gender in real stage space.
They challenge to power relationships by creating cultural discourses. This research could confirm that dance itself is political. In other words, dance does not reproduce a specific political incident, but expose political aspects in intertextuality bodies.
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