1930년대 전반의 최승희의 작품세계와 예술관

Abstract

There are a lot of words that describe Choi Seung-hee. While she was alive, she was called 'a dancer of the peninsula,' 'the flower of Joseon,' or 'a world-renowned dancer.' When she no longer existed in the world, she was called 'a legendary dancer' or 'an imperishable myth.' As an artist's works are a barometer of his or her artistic thoughts, lots of studies have paid attention to Choi Seung-hee, especially her life or overall world of the arts. The purpose of this study was, specifically, to look into her arts in a particular period of time from 1930 to 1935, when she led an active life as an artist, in an effort to shed light on her world and view of the arts from a new perspective. Since it seemed necessary to make a closer analysis of her arts in between 1930 and 1940 when she was thought to direct her best energy into her artistic world, it's attempted in this study to delve into her works and performances during a five period of time from 1930 to 1935. Taking a discreet look at her ceaseless zeal for creation, her works and her changing world and thoughts of the arts according to the change of the times would the first step to grasp the characteristics of her arts. She injected all the Korean overtone, western image and the mystery of Asian dance into her dance, and built her own unique world of dance, which was grounded in superb Korean dance. She attempted to implicitly represent the sorrows of contemporary Korean people and anti-Japan sentiment in the course of modernizing Korean traditional dance, and she tried to recreate Korean conventional dance from a modernistic viewpoint as well.