사이 공간과 쇼팽의 ‘혼종성’ 음악 만들기
Living “in-between” Space and Chopin’s hybrid Music
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이 논문은 쇼팽 연구에서 간과해 온 ‘사이 공간’(in-between space)이라는 창작 활동 공간을 중심으로 쇼팽에 대해 통합적으로 다시 생각하는 시도이다. 폴란드 태생이나 정치적인 이유로 이주할 수밖에 없었던 그는 주변인으로서 파리와 바르샤바 두 경계를 지속적으로 넘나들었다. 그는 한 곳에 안주할 수 없었기에 겪어야 했던 심리적으로 불안한 전이의 지점에서 타자로서의 경험을 혼종적인 음악으로 표현해냈다. 그동안 쇼팽에 대한 연구가 유럽의 복잡한 정치 상황과 베토벤 이후의 유럽 음악계의 공백기 동안 벌어진 은밀한 자리다툼을 고려하지 않은 채 진행되었기에 그의 음악은 여전히 당시 중심 음악 양식과 다르다는 점만이 부각되어 왔다. 특히 쇼팽의 다른 외모와 색다른 음향과 음색 추구, 그리고 섬세한 표현들이 언어의 장치로 반복적으로 강조되면서 다름의 다양한 이미지들이 그를 너무나 쉽게 주변인으로 만들었다. 쇼팽 연구에서 우리가 가장 주목해야 할 점은 사이 공간에서 ‘지속적으로 미끄러지는’ 쇼팽의 모호성/양가성(ambivalence)과 함께 그와 이해관계에 있던 망명 사회와 음악계의 중심인들 역시 양가성의 상태에서 교류했다는 점이다. 따라서 필자는 제3세계 학자인 문학 비평가 호미 바바(Homi K. Bhabha)가 정신 분석학에 근거하여 정리한 양가성 개념을 쇼팽 연구에 접목하여, 그와 그의 음악에 대한 모호하고 편파적이며, 부정적인 평가는 심리적으로 극도의 긴장 상태에서 반복되는 언어 장치를 통해 야기된 것임을 밝히고자 한다.
Abstract
The purpose of this study is to rethink Chopin and his music by exploring his diasporic experiences. He has been described according to conflicting images-either as a national composer or a poète maudit [cultural outsider]. These images of him have been made repeatedly through various discourses so that he has been misunderstood not only by scholars but also by general audiences. Therefore, I re-examine him and his music via a new approach, that is “ambivalence” caused by living “in-between” space, as defined by literary critic Homi Bhabha. Chopin was certainly stimulated by his surroundings in Paris, including the abundance of affluent musical tastes and resources while he was physically living there, yet his longing for his homeland and hometown of Warsaw caused him psychologically to live across time and space. Understanding living “in-between” space is crucial to understanding Chopin both as a composer and as an emigrant, since the literal place - or space - provided the composer with such immense creativity and possibility. Chopin constantly crossed beyond borders, creating ‘hybrid’ music that was unique in expression yet deeply rooted in tradition, as in the case of his Piano Bb minor Sonata, Op. 35. In this paper, I argue that Chopin’s image as an outsider or “the other” is a discursive formulation, unconsciously deployed by his equally ambivalent fellow composers, and his hybrid musical style is also a result of the experience of living in-between space.
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