제주4‧3공연의 심미정치학적 재현방법
Aesthetic Political Reproduction Method of Jeju April 3 Performance
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In the 2020s, the Jeju April 3 performances were created based on the Jeju April 3, which predicted the political environment of Korea divided into conservatives and progressives, focusing on relations with North Korea after liberation, and represented the political characteristics of the region. On the other hand, the theory of aesthetic politics contrasts with the mimetic thinking, which means the creator's complete representation method, by claiming that the intention of representation in performing arts has a political aesthetics different from the representation effect. This paper studies an aesthetic political creation method that can effectively reproduce political historical impressions and lessons on the premise that the Jeju April 3 performances can still form a political discourse in the audience. To this end, the researcher introduces the historical meaning of Jeju April 3 and the representation method of previous performing arts that have reproduced the aspect, and propose a new alternative to the aesthetic political representation methodology that opposes the existing imitation theory that hopes for an effect that fully contains the creator's representation intention. In the process, the researcher examines the representation methods of Jeju 4·3 performances such as "Hannandidodong" and "When Camellia Blooms" in an aesthetic and political perspective. This study will contribute to the production of creative methods that can invite the audience's independent participation in historical situations and meanings by providing a basis for aesthetically understanding the difference that the actual representation of Jeju 4·3 performances is different from the original creator's intention.
Abstract
In the 2020s, the Jeju April 3 performances were created based on the Jeju April 3, which predicted the political environment of Korea divided into conservatives and progressives, focusing on relations with North Korea after liberation, and represented the political characteristics of the region. On the other hand, the theory of aesthetic politics contrasts with the mimetic thinking, which means the creator's complete representation method, by claiming that the intention of representation in performing arts has a political aesthetics different from the representation effect. This paper studies an aesthetic political creation method that can effectively reproduce political historical impressions and lessons on the premise that the Jeju April 3 performances can still form a political discourse in the audience. To this end, the researcher introduces the historical meaning of Jeju April 3 and the representation method of previous performing arts that have reproduced the aspect, and propose a new alternative to the aesthetic political representation methodology that opposes the existing imitation theory that hopes for an effect that fully contains the creator's representation intention. In the process, the researcher examines the representation methods of Jeju 4·3 performances such as "Hannandidodong" and "When Camellia Blooms" in an aesthetic and political perspective. This study will contribute to the production of creative methods that can invite the audience's independent participation in historical situations and meanings by providing a basis for aesthetically understanding the difference that the actual representation of Jeju 4·3 performances is different from the original creator's intention.
참고문헌 (26)
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