무용공연 장소 변형에 이본느 레이너와 보리스 샤르마츠의 메니페스토가 미친 영향

Abstract

This paper examines the transformation of performance spaces through Yvonne Rainer’s ｢No Manifesto｣, articulated while developing her 1965 work ｢Parts of Some Sextets , and Boris Charmatz’s manifesto set forth in 2008, coinciding with his conversion of the National Choreographic Center into the Dancing Museum. To this end, interviews as well as related papers and writings were analyzed. Rainer, by advancing a new form of avant-garde practice, challenged the authority of the traditional theater and established a new, and expanded relationship with the audience. Charmatz, by situating his choreographic practice within the museum, presented a conception of the body that operates within the ‘Living Museum’ and the ‘Non-Material Museum.’ As a result, the choreographer’s practice reclaims and reshapes space, allowing it to be perceived anew.