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공학 일반 건축공학 기계공학 산업공학 재료·에너지공학 전기전자공학 조선해양공학 화학공학 컴퓨터학 기타공학
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학제간연구 과학기술학 뇌인지과학 기술정책 기타 복합학

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논문 기본 정보

자료유형
학술저널
저자정보
김미현 (동아방송예술대학교)
저널정보
한국연극교육학회 연극교육연구 연극교육연구 제33권 제33호
발행연도
2018.1
수록면
67 - 102 (36page)

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초록· 키워드

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A performance is an organism made of action and movement. Performance is presenting the organization ‘body’ which is made of action and movement in front of the anonymous crowd. Deleuze doesn't admit about determining any kind of ‘body’ as a thing that already exists. A performance is a sort of ‘body’. Following Deleuze's becoming-ontology, with the thought that a performance is not a determined body, we can talk about a performance on the perspective of its occurrence. A performance is not a ‘body’ which is already made, it is a ‘body’ that is being made. The most important aesthetic concept of Platon's artistic creation model is mimesis or representation. But there is a paradox hiding in Platon's philosophy. The eternal Idea cannot completely dominate ‘сhora’, rather, the ‘сhora’ becomes the winner. The Idea, which is the mould or the frame, presses the ‘substance’ chora to create a work but there is always a surplus out of the frame. A performance is primarily made through body relationship but it is also the body which breaks up the show and lead to formation change. Borrowing Deleuze's pleonasm, body(or the relationship of them) is the condition that makes the performance's formation change by continuing ‘difference and repetition’. Fischer-Lichte talk about performances as event. Performance is not a ‘work’ nor ‘text’. It is an ‘event’. The primary thing here is the interdependent body coexistence of the participants. In the ‘event’, the determination of significant action keeps on getting delayed. In the performance, the performance itself continues to formation-change by the establishment of unique perceptional arrangements. If Fischer-Lichte discusses the performance mainly through an event as a herd effect, material effect and focuses on the boundary conversion of the performance(event), Hans-Thies Lehmann goes further down and focuses on the body level. But Lehmann does not go completely down to the body level, he focuses between the event-surface and the body level-depth. Lehmann sees that the most definite thing that differentiates drama and post drama is a ‘matter of arranging elements like constituting constellation’. The elements constituting the performance will not determine a well-made organism nor a purpose and it won't work together like the parts in an exquisite description. Like Deleuze said, the performance will be ‘a body without organ’. The show as a ‘body without organ’, it will be a ‘body’ with cracks and ruptures everywhere. The performance(body without organ) can be visually expressed as “the figure”, the drawing of Bacon, which Deleuze strongly focused on. Figure is the sense of power. The figure that is crushed, twisted and bundled up by the intrusion of power. In other words, the performance as the ‘figure’ will be the expose of power. Contemporary performance corresponds to Paul Klee's words: “it is not representation what we see, it is presentation what we can't see”. A performance is a dynamic place with the outside of relationship, in other words, difference itself and time, life, desire, power before it is a representation.
#performance #body without organ #Erika Fischer-Lichte #Hans-Thies Lehmann #event

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참고문헌 (20)

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김익두 / 2013 / 한국 민족공연학 / 지식산업사 google schola 김재인 / 2013 / 들뢰즈의 비인간주의 존재론 google schola 최찬열 / 2017 / 대학 춤의 위기와 청년 춤의 전망 / 작가와 사회 (가을) google schola 아르노 빌라니 / 2012 / 들뢰즈 개념어 사전 / 갈무리 google schola 들뢰즈 / 2012 / 경험주의와 주체성 / 도서출판 난장 google schola

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