Immersive theatre의 상호주관적 경험과 관객해방
A study on intersubjective experience and emancipation of the audience in immersive theatre
0
조회
0
다운로드
4
인용
0
참고문헌
키워드
초록
The immersive performance is a performance style that presupposes the product of experience, which is ambiguous to define as a concept, but can generally be widely identified as a performance that interacts with performers within an aesthetic space where the audience can freely move or participate. The analysis of the performance should be considered by understanding the unique and differentiated way that humans perceive through hearing, vision, touch, and mental introspection. Therefore, study on what the audience’s inner experience in the intersubjective context means is necessary in terms of expansion of research on performance analysis. Therefore, this study emphasises the uniqueness of each experience for all individuals in an immersive performance where the interaction between the audience and the performer is active, and examines the intersubjective experiences to destruct the binary boundary of performer/audience, stage/auditorium, and watch/perform. This study analyses the special intersubjective energy that occurs through the internal experience of the audience, an element of living aesthetics that provides special experiences through visual, auditory, and tactile interactions. Through them, it examines the audience body experience with the performer from the perspective of audience liberation. In order to expand the research of body experience in performances, this study is conducted in the following way. Firstly, in order to examine the experience of the intersubjective audience of energy exchange in immersive performances, it depicts the immersion of body, cognition, and the experience of the inner knowing. Secondly, the concept and function of audience participation in immersive performances are discussed. Thirdly, in order to expand the concept of the audience from the perspective of audience liberation, autonomous liberation through participation is considered and expanded as an element of time, space, and touch based on the discipline of Foucault, M. (1975).
Abstract
The immersive performance is a performance style that presupposes the product of experience, which is ambiguous to define as a concept, but can generally be widely identified as a performance that interacts with performers within an aesthetic space where the audience can freely move or participate. The analysis of the performance should be considered by understanding the unique and differentiated way that humans perceive through hearing, vision, touch, and mental introspection. Therefore, study on what the audience’s inner experience in the intersubjective context means is necessary in terms of expansion of research on performance analysis. Therefore, this study emphasises the uniqueness of each experience for all individuals in an immersive performance where the interaction between the audience and the performer is active, and examines the intersubjective experiences to destruct the binary boundary of performer/audience, stage/auditorium, and watch/perform. This study analyses the special intersubjective energy that occurs through the internal experience of the audience, an element of living aesthetics that provides special experiences through visual, auditory, and tactile interactions. Through them, it examines the audience body experience with the performer from the perspective of audience liberation. In order to expand the research of body experience in performances, this study is conducted in the following way. Firstly, in order to examine the experience of the intersubjective audience of energy exchange in immersive performances, it depicts the immersion of body, cognition, and the experience of the inner knowing. Secondly, the concept and function of audience participation in immersive performances are discussed. Thirdly, in order to expand the concept of the audience from the perspective of audience liberation, autonomous liberation through participation is considered and expanded as an element of time, space, and touch based on the discipline of Foucault, M. (1975).
참고문헌 (19)
- 고현정, "체화된 인지를 통한 무용과 신경과학 학제간 연구 고찰", 한국무용교육학회지, 29(4), pp.47~60 (2018), 한국무용교육학회[DOI]
- 고현정, "체화를 통한 무용 의사전달의 존재론적 가치 고찰", 한국무용교육학회지, 30(1), pp.41~53 (2019), 한국무용교육학회[DOI]
- 고현정, "무용과 몸 인지의 발제주의적 상호성", 한국무용교육학회지, 31(3), pp.97~108 (2020), 한국무용교육학회[DOI]
- Bakhtin, M., "The Dialogic Imagination: Four Essays" (1981), University of Texas Press
- Dacombe, R., "Developing Immersive Simulations : The Potential of Theatre in Teaching and Learning in Political Studies", American Political Science Association, (1), pp.209~213 (2017)
- Damasio, A., "느끼고 아는 존재" (2021), 흐름출판
- Dixon, S., "Digital Performance: A History of New Media in Theatre, Dance, Performance" (2007), Palgrave Macmillan
- Foucault, M, "감시와 처벌" (2003), 나남
- Fulkerson, M, "The First Sense: A Philosophical Study of Human Touch" (2014), MIT Press
- Johnson, M., "The Meaning of the Body: Aesthetics of Human Understanding" (2007), The University of Chicago Press
- Kattwinkel, S., "Audience Participation : Essays on Invlusion in Performance" (2003), Praeger
- Levinson, C., "Space in Language and Cognition : Explorations in Cognitive Diversity" (2003), Cambridge University Press
- Machon, J., "Immersive Theatres: Intimacy and Immediacy in Contemporary Performance" (2013), Palgrave Macmillan
- McKinney, J., "Kinestetic Empathy in Creative and Cultural Practices" (2012), Intellect Ltd
- Merleau-Ponty, M., "The Phenomenology Perception" (1962), Routledge and Kegan Paul
- Noë, A., "Action in Perception" (2004), MIT Press
- Oddey, A., "Mode of Spectating" (2009), Intellect Books
- Pavis, P., "Analyzing Performance: Theatre, Dance, and Film" (2003), The University of Michigan Press
- Schechner, R., "Performance Studies : An introduction" (2003), Routledge