디바이즈 공연 방법론과 미학에 관한 이론적 고찰
A Study on Methodology and Aesthetics for Devised Theatre
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본고는 공동 창작이나 디바이즈 제작 방식이 국내외를 망라하고 공연계에 확산되고 있는 상황에서 이에 대한 이론적 논의가 소통되고 있지 않다는 점에 주목하였다. 디바이즈란 공동 창작의 과정에서 퍼포먼스 양식의 표현 가능성을 탐색하기 위한 실천 방법이며, 이러한 사실에 초점을 맞추어 디바이즈를 관습에서 벗어나 새롭고 직관적이며 즉흥적인 표현 방식의 개발 전략으로 보고자 한 것이다. 이를 통해 본고는 비록 제한적일지라도 다양한 사례를 통해 반복되어 발견되는 방법론을 분석하여 일종의 플랫폼을 제시하는 것이 이론과 실천을 매개하는 하나의 방법이라고 보았다. 본고는 이러한 목적으로 시도된 디바이즈 제작 방법에 관한 하나의 담화라고 할 수 있다. 먼저 1장에서는 두 용어가 지닌 개념을 살펴보았다. 그리고 나서 2장에서는 두 용어를 중심으로 이루어진 역사적 양상에 주목하였다. 3장에서는 디바이즈의 방법론을 고찰하고, 태도와 전제, 리서치와 디자인, 리허설과 디바이즈 하기의 순차적 과정을 살펴보았다. 4장에서는 예술로서의 디바이즈를 구성하는 요건을 미학적 측면에서 분석하면서 창의적 발상과 연극성, 형식적 총합과 몽타주, 시적 승화로 나누어 분석하였다.
Abstract
Regarding the situation the numbers of the devised theatre are unprecedently increasing, it is noteworthy that its theoretical discourses are surprisingly scarce in Korea. This paper aimed to provide a methodology on how to advance the process and how to achieve an artistic value in devised theatre. Of course, devising itself is free activity as a creative and spontaneous intuition is, and rejects to be systemized. Nonetheless, it would be at least possible to find the recurrent method or strategy of the process in the individual production of devised theatre in spite of the limits. To construct a devising methodology with an aesthetic value, my paper followed four steps of research. The definition, the historical background, the methodology, and the aesthetic value. Firstly, I started with the definition that both collective creation and devised theatre. Then I could grasp that the collective creation or the devised theatre invited the members as subjects for their creative process. Also, I paid attention to the current situation that devised theatre and collective theatre have been using at the same time. Secondly, I tried to give an overview of the historical development of them. I found the terms of devising were frequently being used as the director participated in the rehearsal process with a text. In this, I proposed that devising could be a strategy to improve creative impetus in theatre production. Thirdly, I suggested how to proceed the devising process with the resources, which were collected from the former practices: the pre-requiring attitudes for devising, research and design, rehearsal and devising, the open rehearsal and first performance. I also emphasized the essentials of each process. Lastly, I suggested devising conditions are required to get artistic value. The creative thinking, the theatricality, the formal organic completion, the montage, and poetic sublimation are the four aspects to it. As mentioned above, I aimed to construct a methodology for the devised theatre. This would be deductive reasoning and arbitrary in some respect when considering the devising is getting more diverse and more complex. However, it can not be doubted that this study would add fuel for the practitioners to find more creative process based on this already explored road.
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