일본 춤 부토(舞踏) 속 육체의 의미: 스피노자의 심신일원론을 중심으로

Abstract

In the copyright art world of the 20th century, as human users began to receive attention as a new object of expression, a new style of hands-on work and genre were formed. The art form expressed through the distorted transformation of the port, a new concept of beauty, is transitioning from mod- ernism to postmodernism,2. did. In the crab racking world, a number of experimental choreographers emerged, focusing on movement for maneuver. As butoh began to be strongly influenced by these cul- tural phenomena, various expressions can be expressed with manna,In this paper, while illuminating Butoh's perception and aesthetic attitude toward the body, I examined it based on Spinoza's mind-body monistic world view that the mind and body are equal and the idea is expressed through the body. In the last chapter of this paper, Butoh's physicality and Spinoza's mind-body monism were exam- ined together. Butoh, which was influenced by the 'performance' type of art that directly uses the hu- man body as a medium of expression, also jumped on the body-centered expression technique of modern art. It has developed into expressing the original form with unique body movements. At the same time, butoh focuses on the 'body' and 'expressiveness', which are the basis of dance movement, rather than the form of dance movement.According to Spinoza's mind-body monism, the body in the art of dance can form the idea of self-recognition according to the physical transformation. In other words, it means that the art of dance is not only caused by the movement of the human body, but that the body of the audience and the dancer causes transformation together. Spinoza explained this as a manifestation of Conatus. Spinoza's mind-body monism emphasizing power is a meaningful theory in the world of dance art. The significance of this thesis is to analyze butoh, in which the body itself is the subject of dance, from the perspective of such a theory.