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논문 기본 정보

자료유형
학술저널
저자정보
박지혜 (고려대학교)
저널정보
한국현대영미드라마학회 현대영미드라마 현대영미드라마 제32권 제2호
발행연도
2019.8
수록면
123 - 151 (29page)
DOI
10.29163/jmed.2019.8.32.2.123

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초록· 키워드

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Matthew Bourne’s Swan Lake (1995) is a contemporary rendition of Pyotr Ilyich Tchaikovsky’s Swan Lake, an icon of nineteenth century romantic ballet. The most radical aspect of Bourne’s remake was the change in the sex/gender of the swans. In Bourne’s retelling, instead of the elegant and sylphlike female swans of the classical version, the masculine and feral male swans invade the stage. What should be noted concerning men/masculinity in Bourne’s production is that men/masculinity on stage has been the subject of critical derision in romantic ballet. The strong aversion against men/masculinity was based on the idea of beauty in romantic ballet which was grounded in nineteenth-century gender ideology. Influenced by late romanticism, romantic ballet became an art form that expresses an idea of ideal beauty by producing an illusion of ethereal lightness and otherworldliness, and dancers aspired to the condition of disembodied spirits. As romantic ballet critics Théophile Gautier and Jules Janin criticized, massive and muscular men were ugly, monstrous and animal-like to produce such an illusion. Such misandry in ballet was based on the nineteenth-century bourgeois gender ideology. First, the notion of male body as incapable of transcending natural lusts was incongruous with the ballet ideal. Second, the physical prowess male dancers displayed through energetic leaps and turns reminded of the untamable working-class body. Third, the fear for homosexuality forbade men from enjoying men dancing on stage. Based on such exploration of the aesthetics of romantic ballet, this article argues that Bourne’s Swan Lake is, to apply José Muñoz’s concept of ‘disidentification’, a disidentificatory performance that simultaneously works with and against the traditional gender ideology undergirding the idea of ideal beauty in romantic ballet. Bourne’s rendition works with the normative beliefs about sex/gender by recycling animal-like men/masculinity in his reimagination of swans as wild and masculine. Bourne envisioned his swans to be more of an animal and he wanted to show the wildness of them. By having an all-male corps of dancers perform the wildness of swans by imitating actual swans’ movements with their masculine bodies exposed, Bourne works with the middle-class idea of men/masculinity as animal-like and monstrous. Bourne’s remake transgresses the prevailing gender ideology by making the male swans lyrical and beautiful. Bourne envisioned to create “a beautiful male creature-person”, and by combining the movements of actual swans with classical ballet technique and thereby presenting an idea of masculine beauty, Bourne works against the idea of men/masculinity as ugly. Moreover, Bourne disobeys the heteronormative view by relating the recognition of masculine beauty to the recognition of homosexual desire. By inserting sensuous movements that are irrelevant to the movements of actual swans or classical ballet technique—most notably the draping of the arms from the head—, and having these movements to arouse sexual desire in the Prince, Bourne overthrows the prevalent heterosexism in romantic ballet.
#매튜 본 #≪백조의 호수≫ #낭만발레 #퀴어 공연 #탈동일시 #Matthew Bourne #Swan Lake #romantic ballet #queer theatre #disidentification

목차

I. 서론
II. 낭만발레와 남성/남성성
III. 낭만발레와 젠더 이데올로기
IV. 매튜 본의 남성 백조
V. 결론
인용 문헌
Abstract

참고문헌 (28)

참고문헌 신청
Alderson, Evan / 1987 / Ballet as Ideology: ‘Giselle’, Act II / Dance Chronicle 10(3):290~304 google schola Burt, Ramsay / 1995 / The Male Dancer: Bodies, Spectacle and Sexuality / Routledge :15~27 google schola Burt, Ramsay / 1995 / The Male Dancer: Bodies, Spectacle and Sexuality / Routledge :73~97 google schola Chapman, John V. / 1997 / Rethinking the Sylph: New Perspectives on the Romantic Ballet / Wesleyan UP :197~241 google schola Chapman, John V. / 1987 / Auguste Vestris and the Expansion of Technique / Dance Research Journal 19(1):11~18 google schola

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