윌리엄 포사이드의 몸에 대한 시각 연구
A Study on Perspective of Body Presenting in William Forsythe’s Works
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This study analyzed the perspective of body presenting in the works of William Forsythe. This perspective is based on the theory of Gilles Deleuze (1925~1995), which is emphasizing the unlimited potential beyond the established order and fixation of thinking. For Forsythe, the dancer’s body is not used as a means to develop a story or to express emotion. In other words, the body is not a tool for delivering other meaning but a vehicle of sense to being object itself. What he noticed in dance art is the mechanism of human body and developed to the mechanism of movements. For him the body of dancer is a machine which has two parts that Deleuze mentions as ‘use’ and ‘circuit breaker'. It is a dance-machine which is able to make continuously new compositions. This concept is based on the perspective that body and movement are not a unity. For him bodies of dancers are different from the bodies which are seen often in everyday life or on the dance performance stage. They are undefined bodies which are having unlimited potential and “bodies without organ” or “eggs” beyond the organic order. These kinds of thoughts go to the acceptance of unrepresentative world with a new composition of fragments. It make us to throw doubt on the fixed order. Through the unfamiliar world, they make us to doubt on what we see and what we know. Based on the perspective regarding dancer’s body which is the essence of dance art as potential, Forsythe increases the boundary and possibility of dance art and ask what human being is. This study will provide the chances to rethink about what dance art is and to encourage the further study in various perspectives about dancers’ body and dance.
Abstract
This study analyzed the perspective of body presenting in the works of William Forsythe. This perspective is based on the theory of Gilles Deleuze (1925~1995), which is emphasizing the unlimited potential beyond the established order and fixation of thinking. For Forsythe, the dancer’s body is not used as a means to develop a story or to express emotion. In other words, the body is not a tool for delivering other meaning but a vehicle of sense to being object itself. What he noticed in dance art is the mechanism of human body and developed to the mechanism of movements. For him the body of dancer is a machine which has two parts that Deleuze mentions as ‘use’ and ‘circuit breaker'. It is a dance-machine which is able to make continuously new compositions. This concept is based on the perspective that body and movement are not a unity. For him bodies of dancers are different from the bodies which are seen often in everyday life or on the dance performance stage. They are undefined bodies which are having unlimited potential and “bodies without organ” or “eggs” beyond the organic order. These kinds of thoughts go to the acceptance of unrepresentative world with a new composition of fragments. It make us to throw doubt on the fixed order. Through the unfamiliar world, they make us to doubt on what we see and what we know. Based on the perspective regarding dancer’s body which is the essence of dance art as potential, Forsythe increases the boundary and possibility of dance art and ask what human being is. This study will provide the chances to rethink about what dance art is and to encourage the further study in various perspectives about dancers’ body and dance.
참고문헌 (17)
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