수용사적 관점에서 고찰한 «백조의 호수(Swan Lake)»

Abstract

This research considers the meaning and the role that are possessed by «Swan Lake» through the viewpoint of the history of the acceptance of ballet through the process of the adaption. Regarding the romanticism ballet of Europe, which had prevailed until the 18th century, by facing the irreversible period of decline, by crossing to Russia in the 19th century, it gets reborn as the classical ballet. It can be said that «Swan Lake» is the quintessence of the Russian, classical ballet. And, regarding the history of the acceptance of ballet, which is continued from the romanticism to the classicism, it possesses a very important meaning. Regarding «Swan Lake», which had been premiered through the direction by Raisinger, after failing with the box office success and the favorable review, it gets made again as the top version in history truly to its name by Petifa and Ivanov. Although it ends with a tragedy, the summary that seems like one beautiful and sad fairy tale and the choreography by the dancers that is splendid and of which the level of the difficulty is high had aroused the sympathy by greatly appealing to the audiences and the critics of the same era. Thanks to such a favorable response, the Petifa-Ivanov version has been performed the most by being repeated until now, too. Afterwards, the choreographers of the modern ballet who are equipped with not only the ballet but, also, the modern dance, the jazz, etc. appear. They are Nureyev, Balanchine, Matthew Vaughn, Mats Ek, etc. «Swan Lake», which had been accommodated in the modern ballet, had changed the classical plot that was simple and clear into a drama that deals with even the psychology of the human nature that is complicated, dark, and realistic. The choreographies, also, had been diversified into the completely different organizations and movements according to the era and the individuality of each choreographer. And, according to this, the stage devices and the background scenes, too, had become different in a natural way. Without stopping at digesting the techniques, the abilities of the dancers, too, got around to reaching the surprising level of possessing even the ability to act that can express, in detail, the psychology of the protagonist who leads the drama. Although there had been somewhat of a confusion from the premiere, the only one artistic tool that had led «Swan Lake» without any change without being spoiled according to the era had been the music or, indeed, Tschaikovsky’ music. During the process, too, of even the elements that become the bases of the drama, including the plot, the choreography, etc., changing completely, his music has been to with «Swan Lake» until now, too, without changing still. It has become a coherent whole regarding which the work of art and the music cannot be separated mutually. Is this not because, regardless of the times, Tschaikovsky’ music has been bringing about the artistic inspiration that leads all of the choreographers to newly create «Swan Lake»? At the height, his music has become the unchanging background, itself, of «Swan Lake». «Swan Lake», in the history of the acceptance of ballet, which had been taken a look at until now, has been growing and developing greatly while experiencing the diverse and innovative changes. I am expressing my high praise to all of the choreographers, dancers, and audiences who had made this possible by transcending the times. Regarding the ballet choreographers who had played the leading roles in the history of the acceptance, in the process of adapting «Swan Lake», in a natural way, they got around to encountering an arts trend (not only the dance) of the same era. And they must have used this as a tool for making the results of the new creations. Hence, it is thought that it can be said that the process of the acceptance of «Swan Lake» is a process of the acceptance of the diverse artistic trends according to the era. The continuous appearance of the new artistic trends and the choreographers who absorb these is a self-evident thing. The reason why the «Swan Lake» that will be adapted in the future is even more highly expected, indeed, lies here. Indeed, what appearance will the «Swan Lake» that will be met in the future have? The work of art that had followed the rules of the classical ballet, the choreography that had been standardized, and the plot of the play just the way they had been while possessing the nostalgia of classicism just the way it had been has been presently existing even until now, too. And it will not disappear in the future, too. However, with the era of the modern ballet in the 20th century opening, without stopping at maintaining the tradition of the classical works of arts just the way they had been, the diverse attempts and expressions have been added. The appearance of the new, artistic trends is one of the main causes that makes this possible. “he artistic trends of the 20th century are diverse, including the primitivism to which the traditional, folk culture is added, the expressionism that portrays the psychologies, the social situations, the conflicts, etc. of the human beings, the deconstructivism, which symbolizes the discontinuity and the uncertainty and which has the unpredicable and difficult feeling, the eclecticism, in which the past, the present, the traditional things, and the exotic things are combined, etc.”(Lee, Seon-yeong, 2009) Such artistic trends get around to giving the direct and indirect influences on the inspirations of the choreographers. And, by melting into the works of arts in a natural way, they have been making «Swan Lake» into the new works of art. As already experienced, the case of being adapted like an absolutely different work of art because the plot of the play changes, the background changes, or the character of the protagonist changes will continue in the future, too. The artistic inspirations of the choreographers get concretized by the dancers on the stage. This, also, must be an appearance that is different from the choreography of the classical ballet, which had been permitted within a strict discipline only. The choreographer Michel Fokine of Ballets Russes, which had publicized about the beginning of modern ballet, said, “ll of the movements and topics of ballet must be adjusted to the music. And, if this is not connected with a dramatic acting, it has no meaning. The classical mime, which had used the hand gestures and the arms only, must now be changed into a mime that uses the whole body. And the group dance must possess the independent meaning with the expressions only and not the background role of the protagonist any longer.”(Ha, Ye-ji, 2008. Fokine’ contribution to ‘he Times’ By mixing the dances in the diverse genres, including the traditional ballet, the modern dance, the folk dance, the jazz, the tango, etc., the experimental attempts that had been direct and, sometimes, abstract and that had been dynamic and yet minimal got around to being able to meet a lot on the stage. Regarding the «Swan Lake» that will be recreated in the modern ballet, without being monopolized as the completion of the plot and the choreography that had been standardized by a few choreographers and directors any longer, it will become a general work of art that is made together by the artistic trends that speak for the times, the complicated, social situation, the diverse genres of the dances, and the people of the same era who accept these. The choreographers will get around to acquiring more artistic experiences and knowledge. And, by going one step farther, they must keep in mind even the breathing with the audience. This is because, as the cooperators of the performance and not the onlookers, the audience, indeed, plays the role of culminating in concretizing a work of art into perfect arts. By going beyond a visual, momentary, and beautiful work of arts that is shown on the stage, «Swan Lake» will become a language that throws a message of sympathy that transcends the times and will become a symbol of the times. And it will become a great completion of general art that gives the emotional move, the consolation, and the strength to us, who must live in the reality