얼윈 니콜라이 춤에 나타난 가면의 미학적 의미와 해석

Abstract

Since early history, masks have held special significance as a medium of transformation – a vehicle that enables one to conceal one’s true face. Masks have been used as an intermediary between human and nature, human and the creator, human and the devil, and human and the spirit. As such, they were a common instrument used in religious rituals and social rituals. The use of masks varies based on historical era, geographical location, and cultural custom. Some employ masks to imitate God, while others use it to maximize one’s comic character or communicate with others. Masks are also used to visually display humanity’s desires, human nature, and irrationality, while also providing therapeutic results, protection, and transformation. When used as an instrument for choreography, masks acquired a new value – as a vehicle that sheds light on the choreographer’s intention and expression. Masks have been used in numerous works of choreography to imbue significance, distort characters, or add to the mystery. A modern choreographer Alwin Nikolais employed face masks and full-body masks as innovative instruments to perfect his revolutionary and futuristic choreography. His work incorporated various instruments and movements, which were further honed by the theater and choreographer’s expertise in expression, to present a fantasy that has no equal in history. The aesthetic significance of masks in the work of Nikolais can be classified into three categories. First, masks are used as “symbols for the concept of amusement.” Nikolais attempted to free the spirit of the audience by displaying different facets of human reflections and exhibiting movements that give visual shape to human imagination. Second, masks are used as “a transformance of social anonymity.” As such, it separates the individuality and personality of the dancers and enables an egalitarian interpretation – that the character on stage is and can be anyone. In short, this implies that everyone is the same, and shows an ideal based on the sense of community. Third, masks are used as “an instrument for heterogeneity.” Existing movements and expressions of the same choreography can thus be exaggerated while promoting a social process of mutual exchange. Masks do not carry significance on its own; It acquires significance as a new creation only with the addition of lighting, directions, costume, music, and movement. Masks in Nikolais’ work are also used to show the inhumanity or mechanization of humanity. However, such limited interpretations restrict the utility ofmasks, which can be used to exhibit the fullest extent of human imagination. Such interpretation also overlooks the nature of choreography, which can add new significance throughout time. Masks are the codes of the epoch which symbolizes and enables human expression while maximizing creativity. It is our desire that this study be used as a foundation for in-depth research in the field of choreography medium.