윌리엄 포사이드 작품 「Impressinng the Czer」에 나타난 해체주의적 성향연구

Abstract

This study attempts to contemplate the deconstructive tendency in works by William Forsythe by analyzing his work 「Impressing the Czer」 from a deconstructive point of view, and understand how such a tendency was applied to specific works. Deconstruction theory of Jacques Derrida, one of the center figures in deconstructionism, is covered in detail, and further studied the relationship between dance and deconstructionism. The primary objective of this research is to study deconstructionism, which is one of the key trend in philosophy and aesthetics, from a humanities point of view, and study which method can be applied to explain the deconstructive trend in dance, to understand the relationship between dance works and deconstructionism. Just as the past century as a whole can be divided roughly into the ages of modernism and post-modernism, the trends of the 20th century dance has transited from modernism to dominantly post-modernism. This trend was especially stressed in the late 20th century. Deconstructionism was a trend that exercised greatest influence and inspiration on the overall field of artistic creation. Deconstructionism appeared in the late 1960s in France, strongly criticizing the logo-centrism, phono-centrism and dichotomous thinking, and greatly influenced the field of dance as well. Before studying how deconstructionism is applied to dance, a proper understanding of the key deconstructionist Derrida's deconstruction theory, and the frame of methods in applying such trends to the field of dancing. Derrida's deconstructionism attempts to defy the western traditional dichotomous method of thinking, overturn authoritarian hierarchy, and go as far as to deconstruct the hierarchical relationship itself. To Derrida, 'deconstruction' is not merely to destroy existing systems and deforming them to be confusing and complex. His idea is an open method of thinking to overcome the intolerance to others resulting from traditional western dichotomous method of thinking, focusing on the alienated and neglected by approaching targets of recognition not from a monic point of view, but accepting diversity. In other words, his 'deconstruction' must be understood not simply as destruction, but as reconstruction and recreation. In the center of Derrida's deconstruction theory, there are many strategic terms such as differance, trace, supplement, intertextuality and dissemination. This work studies these terms in relation to different relations such as text and text, center and area, time and structure of time, and body and movement, and understands that deconstructionism in dance can be found in the dance trends where recognition of traditional dance forms that value unification, harmony, regularity, totality, formality and perfection is collapsed, and values such as modularity, incompatibility, irregularity, individuality, fragmentation and incompleteness is accepted. intertextuality and decentering trends cross boundaries of dichotomous thinking, and allows for diverse interpretation of dance by expanding and modifying the structure of time and space, and alteration of aesthetic sense on the body and bodily movement. With the previous discussion as the foundation, the work 「Impressing the Czer」by William Forsythe was analyzed to see how the deconstructive trend is actually applied. Analyzing the deconstructive trend in this work in different aspects such as time and area image, movement and exchange between different areas, the following can be said to be the influence of the deconstructionism on dance. The first influence was deconstruction of genre. The boundary between the independent text of dance and other non-dance elements such as music, costume, architecture, imaging and literature is deconstructed. This means not to simply disassemble a complex text into meaningless fragments, but to recreate new text from the communication between different texts. The second influence is the alteration and deformation of movement. Elements of movement that enumerated a dancer's body and its movements according to formalism and aesthetically valued unity, uniformity, stability, and harmony are deconstructed. Movement itself is given meaning, and the standard of ultimate beauty of a body is also deconstructed, giving new meaning and aesthetic value to formerly valueless elements. The third influence is deconstruction of organization. The relation between elements of dance such as time, space and body, which were formerly organized to be connected, regular, harmonic, symmetrical, stable and balanced is deconstructed. Organizations that exhibit segmentation, fragmentation, modularization, irregularity, discord, asymmetry, and no common sense are applied, and traits such as non-formality, incompleteness, instability tension are actively acknowledged. such trends of deconstruction strongly aid in the field of dance in fusing with other genres to overcome the limitation of medium as a bodily language and expand the area of dance art. These trends present various and open methods in approaching choreography, urging choreographers to try various experiments, and to create and challenge formerly nonexistent genres. The value of deconstructionism come from giving meaning and value to individuals and periphery by defying standardization and concentration, and recreating, reorganizing and recreating. Understanding this, it may be anticipated that the changes to come could be foreseen, and the understanding of changes in dance may be enhanced.