탄츠테아터와 그 퍼포먼스적 특성 -호프만의 경우를 통해 본 탄츠테아터의 연구-

Abstract

This paper treats some issues on 'Tanztheater' which has developed since the '70s in Germany. The principal reason for my study is that the Tanztheater contains about the same characteristics of performative 'theatre'. Reinhild Hoffmann, one of the leading figure in Tanztheater-choreography, and her performance <Föhn>, first staged in 1984 in Bremen, are the subjects of this study. What we looked at, is what and how it says. The Tanztheater doesn't tell a big story. It only recite a catalogue of the images: It consists of numerous montage and collage getting out from the reality. So, it's getting kind of installation work in motion. It uses different peoples experiences in it's story to put together on the stage in no particular order. But it makes the story come to life for the audience, because a number of its constituents are from our normal reality. Tanztheater don't need the script. It means the Tanztheater doesn't have any pre-released text. The script is derived from the scenes provided by the repetitive and collaborative exercises. It is so called performance text, as H-T. Lehmann said. Tanztheater chronicle events every day life. And the body is always at the center of the events. The body and it's movements open the stage and tiny bits of life rain down. It makes no pretension to represent any role of drama. The body is nothing but a person in himself who remains nameless. The dancer reflects his emotions as he expresses it through his body. We saw the great artists of Ausduckstanz like V. Gert, in writing himself, writes his sense(of desolation) and his time. Talking about her story simply in motion, that's exactly the point the Tanztheater inherited. The dance here has two important aspects to the study we have done. First, it can be of a example for the authentic acting. We guess it opens good opportunity to get some new alternative to representational acting style. Secondly, the body in Tanztheater isn't behind the role. Of course <Föhn> as theatrical dance does not aim to show everything that the body itself shows. The body in <Föhn> only reflects the social atmosphere in strife between the male and female that was so characteristic of Tanztheater. There, the violence against the female and her body is the primary subject matter. What is important is that the body don't explain the meaning or story, just as the dramatic theatre does. It is the element for sensuous experience for the spectator. All the elements on the stage function in the same way that the body does. And finally, this study tried to interpret the 'inside secret'(S. Schlicher) of the performance composed with combinations of many surrealistic scenes. This is an attempt applying psychoanalysis theory of Lacan/Žižek. What we find are clues concerning the possible interpreting of such a performance: 'the real', for example, makes some interesting points in our approach to the confusion and violence on the stage. They could be kind of signs or images from trauma we have. According to Žižek, the real is surplus products of the trauma.