공연 팸플릿에 나타난 한국의 무용 장(Field) -부르디외의 이론을 중심으로

Abstract

This study tries to analyse the texts of dance performance pamphlets in recent Korea in order to show symbolic violence by the social actors belonged to the field of Korean dance production. This concept of symbolic violence is based on Bourdieu's field theory. The study manipulated the field of Korean dance production from Bourdieu's field theory that shows the distribution of capital and places of social actors' groups. Bourdieu indicated that there were 4 categories of capital: economic capital, cultural capital, social capital, and symbolic capital in the field of art production. The social actors in the field act according to the amount of these capitals they possess. The field of art production is not a static place but a dynamic and restless contestant place. That means the social actors in the field are consistently struggling to keep their own place and total amounts of capital if they have relatively much capital, or to challenge the established order and power relations if they haven't got enough capital. The competitions between the social actors in the field happen to occupy in advance the limited capitals. We can see some aspects of these contests in the field of Korean dance production through analysing the texts of the dance performance pamphlets. 70 dance performance pamphlets produced in Seoul between 2006 and 2007 were randomly selected. Some methods of text analysis which are emphases and repeats of particular words or phrases, absence, and so on were used for extracting the thematic sentences. The study derives 7 thematic sentences in dance field in Korea. These are: first, dance is a result of a long period, professional train, shown from the emphases of academic degrees of performers and choreographers printed on pamphlets, specially pamphlets of established groups in the field of dance performance production; second, dance is based on the artistic talents and senses only proved by the comments of critics or academic members highly positioned in society and possessed symbolic and cultural capital relatively a lot; third, dance performances were produced by artistic experiments and creative trials; fourth, dance performances contribute to globalization of Korean culture; fifth, dance performance contribute to succession of Korean traditional culture; sixth, the processes of dance production are intelligent works; seventh, dance performances are trying to communicate with audience and society. We roughly divided the members in the field of Korean dance production, particularly limited production that is limited to fine arts. The national or city dance companies and the dance companies consisted by the alumni of university as established groups were placed upper part in the field. Independent dance companies and choreographers who newly participated in the field were placed lower part in the field. These two groups were both struggling to preoccupy the 7 discourses which we derive from pamphlets but their own strategies are a little different from each other. The upper ones tend to use the discourses of professionalism, legitimacy more and the groups placed in the lower part in the field tend to use experimentalism more. However both struggle to preoccupy the discourses of globalization, intelligence, and communication.