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학제간연구 과학기술학 뇌인지과학 기술정책 기타 복합학

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논문 기본 정보

자료유형
학술저널
저자정보
이예은 (호원대학교)
저널정보
한국연극교육학회 연극교육연구 연극교육연구 제29권 제29호
발행연도
2016.1
수록면
225 - 248 (24page)

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초록· 키워드

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This thesis is to provide a theoretical basis for the origin of 'Fluid Devising Performance'. Trying to understand what devising is, it has constantly raised a question about on which part we should put more emphasis between 'collaborative creation' and 'process' of creation. In previous thesis I tried to found a specific devising type named 'Integrated Devising Theatre' more focused on 'collaborative creation'. This time I tried to found another type more focused on 'process' of creation. The key concept for this study is 'Fluidity' from Allan Kaprow's theory of art since 1960s. In the 1960s, Unlike the Avant-garde theatre movement of the early 20th century, the ‘anti-foundational art’, neither even attempting to resist against the established art, nor establishing any alternative concepts emerged. This artistic trend naturally goes on moving with the ambiguity of boundaries between art and life as the value of ordinariness and everyday-ness is found in the realm of art. Art does not have a unique category of 'work' which is separated from the reality. Rather, it keeps unclear boundaries between art and life, being in the state of the 'process' that can never be completed. During this period, the term 'devising performance' which focuses on the process of creation itself emerged in the area of performance. Kaprow is the one who combined the artistic trend in the 1960s with the ideal of devising performance. 'Happening' which he invented has received significant attention as an important event from the existing researchers of devising performance in terms of emphasizing chance in earnest. This thesis has been more focused on theoretical concepts of Kaprow's 'happenings', trying to achieve its conceptualization according to the type of the new devising performance he suggested. He aimed at being in the state of 'blurring' between art and life. To do this, he suggested that the creator will 'not' stand on the position of the steady subject of the creation when creating the work, the work should 'not' have the completion form of beginning-middle-end and the relation between the work and the audience should 'not' be fixed or one-sided. Like this way, by overcoming the 'fixedness', 'completion' and 'separation' in performing the act of creation, Kaprow sublated the art with an independent foundation. In this respect, the concept he suggested has a potential of overcoming the limitations of the 'Integrated Devising Theatre' which pursued the property of devising performance, being on the premise of 'separation' and 'completion'. Furthermore, Kaprow suggested that the creators and the works during the process of creation and the works and the audience in the process of performance should have interactive relation with fluidity, not having unilateral communication. In this sense, this thesis established the concept of 'Fluid Devising Performance' based on Kaprow’s assertion.
#devising #neo-avant-garde #Allan Kaprow #blurring #fluidity

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참고문헌 (19)

참고문헌 신청
Aronson, Arnold / 2005 / American Avant-garde Theatre: A history / Routledge google schola Govan, Emma / 2007 / Making a Performance : devising histories and contemporary practices / Routledge google schola Greenberg, Clement / 1961 / Art and Culture: Critical Essays / Beacon Press google schola Heddon, Deirdre / 2006 / Devising Performance : a Critical History / Palgrave Macmillan google schola Hindman, James T / 1979 / Self-Performance: Allan Kaprow's Activities / The Drama Review 23(1):95~102 google schola

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