다매체시대 연극의 탈영토화-연출가 연극, 춤연극, 매체연극
De-territorialisation of Theatres in the Multimedia Age: Director's Theatre, Dance Theatre, and Media Theatre
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Avant-gardism of post-dramatic theatre has swept European theatre since 1960s, which appears in experimental modes in such way of deconstruction of text-focused theatre grammar and the sensual diversification in theatrical signs. This movement initially emerged as a form of performance art, body-centered theatre and media theatre. Now the breadth and tempo of the variation gains pace to breakneck speed along with innovative developments in digital media. Behind this transition, there was a post-modernistic reasoning -- the end of human autonomy, the dismissal of the subjective self and the disappearance of self-conscious individuality -- against literal culture of the Gutenberg galaxy and logocentric modernism. Therefore the factors which were historically singled out and oppressed started to be re-illuminated. Body, movement, iconicity, image and other theatrical components have become newly interpreted instead of language and text in the performing art. At the same time as digital media technology advances, linear and successive perception method, which is characteristic of literal culture, has transitioned to a synchronous and multiple views perception method. This is a new epoch making extension of possible methods of theatrical expression. This paper will research, through an interdisciplinary approach, changing methods of production and manners of reception in the contemporary theatre art. The contemporary theatre attempts to present and express new trends of perception and recognition of rapidly changing environments. These new trends can be categorized into the three areas: the director's theatre(Regietheater), dance theatre(Tanztheater), and media theatre all of which tend to de-territorialize(Deleuze/Guattari) the ‘theatre’ in the Western tradition. Also the aesthetic characteristic, place in theatrical history, and interrelation and mutual influence among them will be explored. Here I will examine the change of perception which has brought on application and extension of theatrical media through period from the historical Avant-garde to the multimedia era. In the early 20C, new generation directors experimented with various stage settings and theatrical symbols to disturb the sympathy between performer and audience and to let the audience come out of conventional insensibility. This is where the extension and de-territorialisation of theatre and theatricality originated. ‘Director's theatre’ is a theatre prioritizing the director to emphasize the theatricality. Using ‘The Seagull’ directed by Valery Belakovic as an example, the method of de-canonization a modern classic, which is newly interpreted and visualized by the director, will be also analyzed. Especially, since the 70's ‘dance theatre’ has become the model for intentional cooperation of both director and original writer(‘auteurism’). Interrelation between dance theatre and (neo)avant-garde theatre has created the following aesthetical characteristics: de-literalization, annulment of mimesis, abstraction, mechanization, Perspectives (Perspektivierung) and stress on movement(Gabrielle Brandstetter). ‘Body’ by Sasha Waltz, one of the second generation of dance theatre choreographers following Pina Bausch, showed that the boundary between dance and theatre has been blurred and unified into total performing arts. Since the 1990's contemporary theatre has been more de-territorialized crossing over different arts, media, and cultural domains. Specially ‘mediatized’ communications created by the globalization of the internet present media theatre such as intermedial theatre and interactive performance as future theatre. This new theatricality appears where theatre encounters different media and art domains. As we see from a performance analysis of ‘The far side of the moon’, the director Robert Lepage does not subordinate himself to media technique. Using intermedia strategy, he appreciates the potential of the technique and applies it to his theatre. That is why there is so much poetic mood and charming in his works despite the use of many media techniques. Dissipation of media boundaries would never lead theatre to a dark view. When theatre embraces and hybridizes extraneous elements from outside and de-territorializes from conventional theatrical concepts, we will experience an extended horizon of new understanding and stimulation. These new theatrical attempts suggest future theatre which applies new theatricality and director's concepts without any boundaries amongst writer, director, performer and audience. In that respect function and position of the audience is transitioned to co-producer of theatrical events(Ereignis). It is worth giving attention to what Lepage said: “Every time there is a technical revolution, it gives an artist reason to hope.”
Abstract
Avant-gardism of post-dramatic theatre has swept European theatre since 1960s, which appears in experimental modes in such way of deconstruction of text-focused theatre grammar and the sensual diversification in theatrical signs. This movement initially emerged as a form of performance art, body-centered theatre and media theatre. Now the breadth and tempo of the variation gains pace to breakneck speed along with innovative developments in digital media. Behind this transition, there was a post-modernistic reasoning -- the end of human autonomy, the dismissal of the subjective self and the disappearance of self-conscious individuality -- against literal culture of the Gutenberg galaxy and logocentric modernism. Therefore the factors which were historically singled out and oppressed started to be re-illuminated. Body, movement, iconicity, image and other theatrical components have become newly interpreted instead of language and text in the performing art. At the same time as digital media technology advances, linear and successive perception method, which is characteristic of literal culture, has transitioned to a synchronous and multiple views perception method. This is a new epoch making extension of possible methods of theatrical expression. This paper will research, through an interdisciplinary approach, changing methods of production and manners of reception in the contemporary theatre art. The contemporary theatre attempts to present and express new trends of perception and recognition of rapidly changing environments. These new trends can be categorized into the three areas: the director's theatre(Regietheater), dance theatre(Tanztheater), and media theatre all of which tend to de-territorialize(Deleuze/Guattari) the ‘theatre’ in the Western tradition. Also the aesthetic characteristic, place in theatrical history, and interrelation and mutual influence among them will be explored. Here I will examine the change of perception which has brought on application and extension of theatrical media through period from the historical Avant-garde to the multimedia era. In the early 20C, new generation directors experimented with various stage settings and theatrical symbols to disturb the sympathy between performer and audience and to let the audience come out of conventional insensibility. This is where the extension and de-territorialisation of theatre and theatricality originated. ‘Director's theatre’ is a theatre prioritizing the director to emphasize the theatricality. Using ‘The Seagull’ directed by Valery Belakovic as an example, the method of de-canonization a modern classic, which is newly interpreted and visualized by the director, will be also analyzed. Especially, since the 70's ‘dance theatre’ has become the model for intentional cooperation of both director and original writer(‘auteurism’). Interrelation between dance theatre and (neo)avant-garde theatre has created the following aesthetical characteristics: de-literalization, annulment of mimesis, abstraction, mechanization, Perspectives (Perspektivierung) and stress on movement(Gabrielle Brandstetter). ‘Body’ by Sasha Waltz, one of the second generation of dance theatre choreographers following Pina Bausch, showed that the boundary between dance and theatre has been blurred and unified into total performing arts. Since the 1990's contemporary theatre has been more de-territorialized crossing over different arts, media, and cultural domains. Specially ‘mediatized’ communications created by the globalization of the internet present media theatre such as intermedial theatre and interactive performance as future theatre. This new theatricality appears where theatre encounters different media and art domains. As we see from a performance analysis of ‘The far side of the moon’, the director Robert Lepage does not subordinate himself to media technique. Using intermedia strategy, he appreciates the potential of the technique and applies it to his theatre. That is why there is so much poetic mood and charming in his works despite the use of many media techniques. Dissipation of media boundaries would never lead theatre to a dark view. When theatre embraces and hybridizes extraneous elements from outside and de-territorializes from conventional theatrical concepts, we will experience an extended horizon of new understanding and stimulation. These new theatrical attempts suggest future theatre which applies new theatricality and director's concepts without any boundaries amongst writer, director, performer and audience. In that respect function and position of the audience is transitioned to co-producer of theatrical events(Ereignis). It is worth giving attention to what Lepage said: “Every time there is a technical revolution, it gives an artist reason to hope.”
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