공연예술 아카이브 담론의 실천과 의의 -뉴욕현대미술관의 사례를 중심으로-
Practical Application and Significance of Performing Arts Archival Discourse -Focused on the Case of the Museum of Modern Art, New York-
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The purpose of this study is to examine practical cases of archival discourse that reflect the existential characteristics of performing arts and to explore their significance. To this end, the study reviews the discourse on performing arts archives and examines the case of MoMA’s acquisition of Dance Construction. The findings reveal that performing arts archives have evolved from the mere collection and preservation of records to an open concept that increasingly includes both tangible and intangible traces of the performing arts and the act of remembering them. The case of MoMA, which exemplifies the evolution of archival discourse through records, memory, and ultimately the combination of both records and performance, clearly illustrates this progression. This approach to performing arts acquisition highlights MoMA’s shift in role from owner to steward, leading to a reflective critique of the institutional power and authority derived from the ownership of art.
Abstract
The purpose of this study is to examine practical cases of archival discourse that reflect the existential characteristics of performing arts and to explore their significance. To this end, the study reviews the discourse on performing arts archives and examines the case of MoMA’s acquisition of Dance Construction. The findings reveal that performing arts archives have evolved from the mere collection and preservation of records to an open concept that increasingly includes both tangible and intangible traces of the performing arts and the act of remembering them. The case of MoMA, which exemplifies the evolution of archival discourse through records, memory, and ultimately the combination of both records and performance, clearly illustrates this progression. This approach to performing arts acquisition highlights MoMA’s shift in role from owner to steward, leading to a reflective critique of the institutional power and authority derived from the ownership of art.
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