일상의 퍼포먼스, 투어리즘과 다크 투어리즘 -극단 신세계의 <망각댄스-4.16편, 서울망각투어버스>(2019)

Abstract

In this article, I analyzed "not-remembering Dance, 4.16, Seoul Oblivion-Tour Bus"(2019) of the theatre company Shinsegae, which connects the aesthetics of performance to performance practice. The performance practice at this time is in contact with the attitude of reflecting on the responsibility as a witness and performer who testifies about the suffering of the other. The theatre company Shinsegae's "not-remembering Dance, 4.16, Seoul Oblivion-Tour Bus" is the performance that consists of the performance of dark tourism. In this performance, the boundary between cultural performance and performance are crossing, reflected on the concept of categorized performance. And it ventilated the delegated passiveness inherent in everyday cultural performance, and questioned the attitude of remaining as an on-the-spot silence in the disasters, dangers and sufferings of our society or forgetting it. In particular, by reflecting on the de-experience and delegated passiveness through forensic information familiar to the audience participating in the performance, including the performer, they could implemented the performance process of being established as practical witnesses of 'event-space' rather than bystander observers of the informatized 'event'. Performance practice of performance is completed or reached by participating audience. When the audience of the performance exists as a witness who testifies, not as a bystander, performance practice of the performance can be possible. It is also a way that contemporary performing arts are aesthetic, ethical, and political, away from the attitude of being only an art, with public responsibility being neglected by autonomy.