연극치료와 변형 -데이비드 리드 존슨(David Read Johnson)의 발달변형(Developmental Transformations)이론을 중심으로-

Abstract

At first, this study raises a question about Robert Landy's explanation of Johnson's Developmental Transformations(DvT) which is an approach integrated theatre and psychology. And David Read Johnson says that DvT is based on an emanation theory, neo-platonism as well. But actually it seems that his theory doesn't match up to existing references in a certain way. It leaves room for questions rather. The purpose of this paper is to illuminate the theory of Developmental Transformations. It should be noted that the idea of transformation especially is the basis for the first principal of DvT and it is also a significant aesthetic preposition of theatre and drama therapy. For this reason, it is eventually attempted to find the meaning of transformation in DvT in this study. In DvT the body is the source of thought and feeling, physicality and energy. DvT intends to facilitate a renewed flow or link among source/body, self and others. So It values the possibilities of the unadorned encounter here and now between a therapist and a client in the empty playspace, where the world of imagination with all of its contradictions and mysteries can be revealed through the embodied play of two free consciousness. In the process of DvT, It's also important to play with the unplayable things . In order to do it, a sequence of free plays of improvisation is performed and an embodied presence can be achieved through the deep play which is the last phase of free plays. At the moment, client and therapist become acutely aware of each other's presence of each individual person/body/consciousness in the room. They experience a profound feeling to acquiesce with each other. DvT emphasizes the encounter between a therapist and a client in the moment because its therapeutic aim is to provide less existential discomfort and achieve greater intimacy. In this way, DvT does not attempt to improve a person, reduce neurotic conflict, or repair character flaws but it intends to accomplish an embodied encounter in the intersubjective playspace which leads toward a greater sense of presence further. This paper finds that DvT is linked to phenomenological notions of an 'embodied subject', 'presence-in-the-world' and 'intersubjectivity', and it is based on Grotowski's main ideas, pure 'encounter', 'poor theatre', whereby Johnson deconstructs the dualism of neo-platonism and gives a priority to body-perception paradoxically. So this study proves that the transformation, primary principal of DvT is the transformation of body into a body-subject, not being but becoming, and a relationship of profound being-together, the bodies of co-presence in the world.