장-뤽 낭시의 몸 사유로 본 춤추는 몸의 고유성 :The uniqueness of the dancing body from Jean-Luc Nancy’s thoughts on the body

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자료유형: 학위논문

저자정보: 최문정 (충남대학교, 충남대학교 대학원)

지도교수: 박수영

발행연도: 2023

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2023

장-뤽 낭시의 ‘몸 사유’로 본 앙줄랭 프렐조카주의 ｢프레스코화｣에 나타난 몸의 미학

최문정 무용예술학연구 2023.06 학술저널

장-뤽 낭시의 몸 사유로 본 춤추는 몸의 고유성

최문정 무용학과 2023.01 학위논문

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장-뤽 낭시(Jean-Luc Nancy)의 저서 ''코르푸스 Corpus''에서 몸의 사유는 몸의 개념을 설정하는 의미 생성이 아닌, 몸이라는 본질, 그 자체에서 포착되는 실질적 측면을 다루었다. 글쓰기의 행위와 몸의 행위를 수평적으로 바라보는 중첩적 관련성에서 몸의 사유가 드러난다. 낭시는 몸을 유한한 존재로서, 즉 살아있는 동안의 몸만이 그 의미와 가치를 설정할 수 있다고 주장한다. 이는 몸을 있는 그대로 바라보면서 물질과 비물질, 그리고 둘의 결합인 하나의 유기체로서의 쓰임에 대해 사유한다.
낭시는 춤추는 몸(Le corps-dansant)을 존재론적 차원의 물질과 의식적 차원의 비물질의 총체라고 본다. 이는 몸의 본질적 기능과 일상적 기능을 초월한 다른 몸 세계를 창조하는 영혼의 확장이자, 실존의 확장으로 파악하는 것이다. 우리가 알고 있던 몸을 부수적인 의미 생성 이전의 본질적 자료체로 보고 정신과 육체를 각각 비물질과 물질로 해체하여 몸의 본질적 기능과 의미를 살펴보고 그 둘의 결합으로 창조된 미학적 의미를 연구한다.
따라서 본 연구는 「작은 죽음」과 「프레스코화」에 나타난 몸의 접촉을 통해 춤추는 몸에 내포된 몸의 본능적인 원리, 물질로 구성된 몸, 영혼의 현전이라는 몸의 본질과 특수성, 그리고 이성과 감각의 항구적인 교차(chassé-croisé) 혹은 산물을, 낭시가 제시한 몸의 물질성, 비물질성, 그리고 물질과 비물질적 요소의 결합을 토대로 분석하고 이러한 과정을 통해 춤추는 몸의 물질과 비물질의 결합 속에서 발현되는 몸의 고유성을 연구하고자 한다. 이에 본 연구를 통해 무용예술에서의 몸에 관한 철학적 연구에 기초를 마련하고자 한다.

In Jean-Luc Nancy’s book 『Corpus』 the thought of the body addresses the practical aspects captured in the essence of the body itself, not the creation of meaning that establishes the concept of the body. The thought of the body is revealed in the overlapping relationship between the act of writing and the act of the body being viewed horizontally. Nancy claims that the body is a finite being; that is, only while alive can it establish its meaning and value. Looking at the body as it is, he contemplates its use as a single organism that is a combination of the material and non-material.
While reading Nancy’s thoughts on the body, this researcher found a critical mindset about the dancing body(Le corps-dansant) in the purpose, function, and use of the body in Nancy’s writing. This study examined the realistic and philosophical expressions about the multifaceted body and the dancing body supporting 『Corpus』 which is one of his books and contains the core of his body thinking, from an essential point of view.
Nancy sees the dancing body as the totality of the material on the ontological level and the immaterial on the conscious level. That is, he views it as an extension of the soul that creates another body world that transcends the essential and daily functions of the body, and identifies the dancing body in the extension of existence. The dancing body is an extended state going from the existential level to the practical and aesthetic levels.
Accordingly, through Kylian’s 「Petite Mort」 and Preljocaj’s 「Fresque」 this study analyzed the instinctive principle of the body embedded in the dancing body, the body composed of matter, the essence and specificity of the body as the presence of the soul, and the product of the permanent intersection(chassé-croisé) of reason and the senses based on the materiality and immateriality of the body presented by Nancy, and the combination of material and non-material elements or properties. Through this process, it found that the dancing body has emotional behavior, meaning and value of movement, and the unique ability to combine the material and non-material.
In conclusion, the uniqueness of the dancing body derived from the two works through Nancy’s body thinking is as follows.
First, the power and speed expressed in dance movements are basic elements that reveal vitality. Life force corresponds to visible materiality. From the beginning to the end of the works, the principle of the body that can be realized within its own vital finiteness was demonstrated and the capacity was maximized. In this process, the main focus of power lies in moderation that controls the direction and speed of one’s own force. This is the basic structure of Nancy’s materiality, and the natural body is structured to use force and speed. It is applied in the biological principle of absorption and excretion to maintain motion. This instinctive vitality instinctively detects what to absorb and discharge as it intersects, rubs, presses, entangles, and collides with other bodies. Thus, the contact of the dancing bodies forms the meaning of the body through the absorption of infinite movements and the moderation of discharge.
Second, the works show an érotique and sensuous form of dance. In the two works, eroticism and sensuality are tied together like a single expression. Eroticism is a feeling expressed in the flow of the body, evoking sexual desire and sensuality. Senses come directly from the inside, and this develops into emotions through judgment according to one’s own values. These emotions correspond to Nancy’s immaterial body. Some of the aspects caused by internal principles and external stimuli are observed through the senses. The erotic and sensuous beauty embodied in movement-based expression is absolutely not limited to its external form. Outward gestures cannot express all of one’s inner feelings. Gestures are only expressed in reciprocity. They describe mutual sensory patterns while understanding and contacting other bodies in the situation and space faced as an organism.
Third, there is invisible-visualization, which is a combination of the material and non-material. Invisible-visualization means revealing and expressing the invisible through gestures. The theme of dance is the visualization of the inner world. The inside is the passion of love, and it expresses what it thinks and feels through the body, which is the real thing as much as possible. For an unadorned interpretation of the inner world as it is, 「Petite Mort」 in a visible form uses 276 segments of the body, and 「Fresque」 divides the large frame of choreography into 10 scenes. The movements implemented in each scene use all of the fundamental structures of the body.
What the two works want to express through infinite movements is the inner side, spirit, and thinking, which is the power to produce the soul. Just as Nancy argued that the soul cannot be expressed in anything other than the body, outside the body is the soul, and only through the outside can the soul identify itself and make sense of other bodies. This study concluded that body and soul are reduced to each other and cannot be replaced by other objects. The expression of emotion and soul through body contact in 「Petite Mort」 and 「Fresque」 and the creative arrival of the body in Nancy’s thoughts on the body are expected to take on great resonance in illuminating the body, as sought in current dance art as a philosophical basis.

#고유성 #춤추는 몸 #물질 #비물질 #코르푸스 #움직임 #낭시의 몸 #안무 #함께-있음 #접촉 #체화

Ⅰ. 서론············································································1
1. 연구의 목적과 필요성·························································1
2. 연구의 방법······································································9
3. 용어의 정리·····································································11
Ⅱ. 몸의 본질과 실천적 사유에 대한 검토···························12
1. 철학적 대상의 몸······························································13
2. 몸과 정신의 관계들···························································18
3. 몸의 기능: 보편적인 기능과 예술적 기능·····························25
1). 보편적인 기능: 몸의 테크닉················································26
2). 예술적인 기능: 잠재성의 실현··············································31
Ⅲ. 낭시의 몸 사유(Le corps de Nancy)······························36
1. 존재론적 차원에서의 물질적인 몸·······································37
2. 의식적 차원에서의 비물질적인 몸·······································44
3. 총체적 차원에서의 코르푸스의 결합····································50
Ⅳ. 「작은 죽음」과 「프레스코화」에 투영된 몸 의미················63
1. 지리 킬리안의 「작은 죽음」에 나타난 낭시의 몸 사유···········66
2. 앙줄랭 프렐조카주의 「프레스코화」에 나타난
낭시의 몸 사유································································82
Ⅴ. 총체적 코르푸스로서의 「작은 죽음」과 「프레스코화」········98
Ⅵ. 결론········································································110
참고문헌····································································114
Abstract···································································121

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