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Karl Rosenkranz의 추(醜) 개념을 수용한 무용의 표현방식

Dance expressions accommodating karl rosenkranz's concept of ugliness

이혜원
한국무용교육학회|2013.03|한국무용교육학회지 (Resach of Dance Education)|제24권 제1호|pp. 143-160|DOI 10.23022/kdes.2013.24.1.143

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참고문헌

키워드

추 개념추의 새로운 미적가치heory of uglinessnew aesthetic values of the ugliness
주제분류무용

초록

The study aims to have a new understanding of ugliness in contemporary art, to recollect it as a method to lead main expression in the category of the entire beauty and to discover it in the center of possibility to Creation of Modern dance based on Karl Rosenkranz,s Theory of Ugliness The present time is the age of fusion of beauty and ugliness and the ugliness exists incorporating with the beauty as part of aesthetic concept of the art not as momentary phenomenon in art dances. So right recognition of the theory of ugliness and to review choregraphy incorporating it with dance in multilateral ways are required for now. That is to say, to apply the concept of ugliness actively is more necessary for continuing to build new concept of beauty and finding wide directions of creative arts. Before composing and analyzing the dance applying the theory of ugliness, I searched issues on beauty and ugliness in arts through discussion in the aesthetic perspective and reviewed how ugliness have changed itself and further the concept of the art. And then, I focused Rosenkranz's three concepts of ugliness, non-form, inaccuracy and transformation and deformation in order to lead extended choregraphy required by present time, extracted disjoint, contingency and distortion as frame for expression to accept in dance and prepared frames for creating dance and analyzing it. These new aesthetic values of the ugliness in the dance becomes an important criteria for enjoying the entire dance and represent the ugliness as main theory for contemporary dance not one-dimensional object for creating dance. Accordingly, I suggest to apply actively the ugliness as extension of creative and diverse choregraphy.

Abstract

The study aims to have a new understanding of ugliness in contemporary art, to recollect it as a method to lead main expression in the category of the entire beauty and to discover it in the center of possibility to Creation of Modern dance based on Karl Rosenkranz,s Theory of Ugliness The present time is the age of fusion of beauty and ugliness and the ugliness exists incorporating with the beauty as part of aesthetic concept of the art not as momentary phenomenon in art dances. So right recognition of the theory of ugliness and to review choregraphy incorporating it with dance in multilateral ways are required for now. That is to say, to apply the concept of ugliness actively is more necessary for continuing to build new concept of beauty and finding wide directions of creative arts. Before composing and analyzing the dance applying the theory of ugliness, I searched issues on beauty and ugliness in arts through discussion in the aesthetic perspective and reviewed how ugliness have changed itself and further the concept of the art. And then, I focused Rosenkranz's three concepts of ugliness, non-form, inaccuracy and transformation and deformation in order to lead extended choregraphy required by present time, extracted disjoint, contingency and distortion as frame for expression to accept in dance and prepared frames for creating dance and analyzing it. These new aesthetic values of the ugliness in the dance becomes an important criteria for enjoying the entire dance and represent the ugliness as main theory for contemporary dance not one-dimensional object for creating dance. Accordingly, I suggest to apply actively the ugliness as extension of creative and diverse choregraphy.

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