공연 텍스트(Performance Text) 창작과정 연구: 국제공동제작 프로젝트 『보더라인』의 상호텍스트성을 중심으로

Abstract

This study attempted to explore the relationship between text and performance and new creative methodologies by examining the historical change of the text concept and analyzing specific cases where 'intertextuality' is applied to text creation in contemporary performing arts. As is well known, since Aristotle's 'Poetics', texts have occupied an absolute position with a single meaning in the his- tory of Western theatre. However, after World War II, phenomenon such as distrust of human reason and the rise of the postmodern expanded the concept of texts as a space of possibilities that could generate multiplicity through the interpretation of the reader rather than a fixed meaning. In partic- ular, the concept of intertextuality proposed by Julia Kristeva viewed the text itself as not unique cre- ated by the author's originality, but as a relational existence within a specific social and cultural context. This concept has provided a theoretical foundation for performing artists to look at the rela- tionship between performance and text anew and to try various creative methods. In the 『Borderline』 project, an international co-production between Korean and German artists, the text for the final performance was made by creating a secondary text through the actors' 'self-actualization' process and performative approach from the primary text written by the author's research. The text creation method attempted in 『Borderline』 made it reflect the various perspectives that the author's primary text could not reveal, and through this, a more three-dimensional thematic approach was achieved. Performance text creation based on this ‘intertextuality’ makes it possible to devise a new stage language and form by not getting caught up in fixed role divisions or conventional methodologies.