니체 사상에서의 한국무용의 의미

Abstract

Among many western philosophers, Nietzsche was a philosopher who reasoned flitting over oriental view of art, especially showing heavy Buddhist color. This research is to explore Nietzsche's oriental thought, and the meaning of Korean dance based on his artistic thoughts. Nietzsche's oriental reasoning of Buddhist thought was most Korean, an art world pursued by Nietzsche. Therefore, exploring Nietzsche's oriental view on art and the meaning of Korean dance which supports such logic is summarized as follows.First, Nietzsche suggests Buddhism as a conquest towards new future as philosophy which affirms life and the realities of life. He informs a method of caring the spirit to be relieved of pain, and such conquest unites with eternal recurrence thought relating to the reliance on power. His present view of human is a view of the world transcending‘human and nature’ dichotomy, and recognizes Übermensch conquering difficult situations as Buddha in Buddhism. Second, Korean philosophical thought is a meeting and parting under a harmonious relation, a view of human to achieve peace and harmony through self-conquest and recovery to human's good nature based on practice of Buddhism or Confucianism. The Dangun, the founding father of the Korean nation, mythology and humanitarianism is an anthropocentric view of the world which takes a serious view of human world towards the present world. Korean's consciousness structure is based on practice of humanism, populism, mutual respect, equality, and secularism. It is not a traditional dichotomist structure of the west which separates the view of human and the view of nature from one another, but identical with Nietzsche's monistic structure which shares identical logical connection.Third, the image of curve in Korean dance depicts circulating cosmologic meaning, intervening and circulating between human and human, human and nature, reality and transcendental world, and present and future. Han(恨), Korean emotion consisting of grudge, hate, regret, sadness, grief, and heartburning, is a remaining hope, which transcends a simple sadness, towards a creative world of‘creation’ and‘drive’, sublimating to the world of ideal and delight. Unlike western dance which emphasizes on a strong desire of expressing individuality, technical skill, and material, Korean dance emphasizes internal suppression and peace, and revelation skill which recognizes spiritual subject through concentration on the inside. Breathing in Korean dance, the midway connecting the heavens and the earth, using human body as the core, is a typical Korean dance technique which is scientific and philosophic as it is.Lastly, Korean dance for Nietzsche is a creative principle towards a new world as reliance on power. Nietzsche's‘funambulist’, a metaphor towards the transcendental world with human as the central figure, is a typical theme of Korean dance. Up and down movement in space and time, filling and emptying, and tying and untying are also Korean expression of life and death, creation and destruction, pain and hope, and comedy and tragedy. Nietzsche's Übermensch is‘the one who dances’, a dancer who has a strong will, and is not subordinate to exterior conditions. Moreover, Buddhist doctrine and view of the world, that is, coming into being and changed Dionysus' Nirvana world is identical to Korean dance which comprehends emotion of Koreans who live free and creative lives.