사샤 발츠 작품에서의 공간활용 분석

Abstract

This study is about the use of space by Sasha Balz, and aims to find the use of it as an exhibition space and theatricality through her work. Based on the previous research on the existing Balz's space and the video, the analysis was centered on the work, and it was studied by focusing on finding out the meaning of the exhibition space by examining the use of'dancer's movement for space'. In analyzing Balz's space use, it was based on Michel de Serto's practical space, and proceeded with a research method to obtain the possibility of theatricality of the exhibition space through critics' criticism. The reason why the researcher was based on Michel de Serto's practical space, “by dividing place and space, space is the result of the place being changed by the movement of something practical and the place becomes a space with intention and direction” (Jang Se Ryong, 2003) because the argument is sim- ilar to Balt's idea. Based on this, the intention and direction of Balts in <Dialogue99>, the first of two analysis works, made one museum to survive itself, and the viewers met the intention and direction of Baltz in reality to the past. Creates a space that reminds you of your experiences. The second analysis work, Flesh, shows the dancers on the stage exhibiting their bodies, priced like meat placed in a butcher shop, to the audience. Their body is flesh as an object, and the performance here is the exhibition per- formance of the body. Through these exhibition acts, unusual dramatic and useless acts, the dance makes the act of exhibition and shows the audience another view that can be spoken by the human body. At this time, the place called the theater in the big sense and the place called the stage in the small sense are transformed into spaces by Balz. It can be seen that the stage no longer stays in the midday place, and the space is the sculpture that composes the stage and becomes the prop needed for the work, and it is also a dramatic, exhibition place, and expression object at the same time. The most important thing is that the dancer's movement exists for the space, resulting in an exhibition-like theatricality. This study is meaningful to clarify that the characteristics of these Baltic dance theatre, the ex- hibition behavior of body and space, is to expand the possibility of post-drama play to give up liter- ary character and pursue new theatricality. It is expected that its value will be exerted by appropriate use in connection with meaning.