이머시브 퍼포먼스에서의 관객성에 대한 고찰
A Study on Spectatorship in Immersive Performance
0
조회
0
다운로드
11
인용
0
참고문헌
키워드
초록
본 연구는 관객의 신체적 개입 여부에 따라 수동적 관람자와 능동적 참여자로 구분짓는 태도를 경계하면서 관객참여적 공연의 한 형태로서 이머시브 공연 사례를 살펴보았다. 펀치드렁크의 <익사자: 할리우드 이야기(The Drowned Man: a Hollywood Fable)>(2013) 에서 관객에게 어떠한 권한, 선택, 자유를 제공하는지를 분석함으로써 전통적인 프로시니엄 공연이 지니는 관객성과 어떻게 차별화되는지, 그리고 관객참여적 공연이 정치적으로 더 민주주의적 가치를 실현한다고 볼 수 있는지 그 타당성을 검토하였다. 그 결과 작품 속의 관객은 몰입적 경험자로서 자율성을 가지고 능동적으로 소비하는 역할을 수행하고 있으나 이것이 프로시니엄 무대 공연의 관객에 비해서 반엘리트주의를 표방하고 더 민주적이라고 보기는 어렵다고 주장하였다. 다만 창작자가 만든 다양한 시나리오 목록을 소비하는 방식, 공연을 경험하는 방식에서 있어서 다중감각을 강조하고 이를 통해 더효과적으로 소비를 할 수 있는 기회를 제공하는 신자유주의 이데올로기를 표방하고 있다고 보았다.
Abstract
This article analyses an immersive performance, Punchdrunk’s The Drown Man: Hollywood Fable (2013), with an aim of challenging a dichotomous view of audience participation which considers seated spectators as passive viewers and mobile spectators as active participants. It examines what kind of authority, choice, and freedom were assigned to the audiences in the work and then raises the question whether this audience participatory performance could be regarded as more democratic than traditional proscenium works. In conclusion, I insist that the audiences played a role as active consumers while taking their own personal journey through multisensory experiences. However, I claim that this immersive work was underpinned by ideas of neoliberalism rather than standing for egalitarianism and anti-authoritarianism since the audiences were offered opportunities to gratify their needs while effectively consuming the predetermined choices, not contributing to what the production could do.
참고문헌 (32)
- 김형기, "포스트드라마 연극의 미학" (2011), 푸른사랑
- Alston, Adam, "Beyond Immersive Theatre: Aesthetics, Politics and Productive Participation" (2016), Palgrave Macmillan
- Bennett, Susan, "Theatre Audiences: A Theory of Production and Reception" (1997), Routledge
- Biggin, Rose, "Immersive Theatre and Audience Experience: Space, Game and Story in The Work of Punchdrunk" (2017), Palgrave Macmillan
- Bishop, Claire, "Participation: Documents of Contemporary Art" (2006), Whitechapel
- Bourriaud, Nicolas, "Relational Aesthetics" (2002), Les presses du reel
- Brook, Peter, "The Empty Room" (1968), Penguin
- Debord, Guy, "The Society of the Spectacle" (1994), Zone Books
- Fisher-Lichte, Erika, "The Transformative Power of Performance: A New Aesthetics" (2008), Routledge
- Freshwater, Helen, "Theatre and Audience" (2009), Palgrave Macmillan
- Frieze, James, "Reframing Immersive Theatre: The Politics and Pragmatics of Participatory Performance" (2017), Palgrave Macmillan
- Gardner, Lyn, "Programme Notes: Case Studies for Locating Experimental Theatre" (2007), Live Art Development Agency
- Grotowski, Jerzy, "Toward a Poor Theatre" (1968), Methuen
- Jackson, Shannon, "Social Works: Performing Art, Supporting Publics" (2011), Routledge
- Machon, Josephine, "Immersive Theatres: Intimacy and Immediacy in Contemporary Performance" (2013), Palgrave Macmillan
- McAuley, Gay, "Space in Performance: Making Meaning in the Theatre" (2000), The University of Michigan Press
- Phelan, Peggy, "Live: Art and Performance" (2004), Tate Publishing
- Phelan, Peggy, "Unmarked: The Politics of Performance" (1993), Routledge
- 권용, "‘이머시브 공연’(immersive performance)의 확장된 의미로서의 공간연구: 연극 ≪메모리얼: 조용한 식탁≫을 중심으로", 한국엔터테인먼트산업학회논문지, 11(5), pp.17~26 (2017), 한국엔터테인먼트산업학회[DOI]
- 백영주, "이머시브 연극의 경험성과 매체성 연구", 인문콘텐츠, (36), pp.109~136 (2015), 인문콘텐츠학회
- Bishop, Claire, "Antagonism and Relational Aesthetics, October 110", ~ (2004)
- "Acting of Spectating: The Dramaturgy of the Audience’s Experience in Contemporary Theatre" (2012)[URL]
- Cull, Laura, "Editorical", Performance Research: A Journal of the Performing Arts, 16(4) (2011)
- Kolb, Alexandra, "Current Trends in Contemporary: A Political Critique", Dance Research Journal, 45(3) (2013)
- Lancaster, Kurt, "When Spectators Become Performers and Theatre Theory: Contemporary Performance-Entertainments Meet the Needs of an ‘Unsettled’ Audience", Journal of Popular Culture, 30(4) (1997)
- Nield, Sophie, "The Rise of the Character Named Spectator", Contemporary Theatre Review, 18(4) (2008)
- Rancière, Jacques, "The Emancipated Spectator", Artforum International, 45(7) (2007)
- Shaughnessy, Robert, "Immersive Performance, Shakespeare’s Globe and the ‘Emanicipated Spectator’", The Hare, 1(1) (2012)
- White, Gareth, "On Immersive Theatre", Theatre Research International, 37(3) (2012)
- Zaiontz, Keren, "Narcissistic Spectatorship in Immersive and One-on-One Performance", Theatre Journal, 66(3) (2014)
- Gardner, Lyn, "Venice Preserv’d Review – Immersive Drama That’s More of An Aimless Wander", Guardian, ~ (2014)
- Barrett, Felix, "The National Theatre and Punchdrunk" (2013), Temple Studios