본문 바로가기
KERD
논문KCI 등재

바우하우스의 조형교육과 슐레머의 <3화음 발레>

The Art Education of Bauhaus and O. Schlemmer's <Triadic Ballet>

0

조회

0

다운로드

5

인용

0

참고문헌

키워드

주제분류무용

초록

This study aims to clarify how the Art Education of Bauhaus is embodied in Oskar Schlemmer's <Triadic Ballet>. The fruits of the study are as follows: 1. Schlemmer's <Triadic Ballet>, his representative work, is recognized as the best example that embodies Bauhaus's education theory, in that he attempted to integrate art and machine through the <Triadic Ballet>. 1. Pulling down the boundaries between various media and those between various genres, or uniting various media and genres, Schlemmer succeeded in their organic combination. As a result of it, in the <Triadic Ballet>, he realized the ideal of the Total Art which Bauhaus's curriculum pursues. 1. Although the expressionistic and dadaistic inside of Bauhaus has been long buried by his formal face of both rationalism and functionalism, these two contrasting aspects are combined in the <Triadic Ballet> by Schlemmer who believes that an ideal man consists of the confrontation between the two faces, that is, Apollo and Dionysus.

Abstract

This study aims to clarify how the Art Education of Bauhaus is embodied in Oskar Schlemmer's <Triadic Ballet>. The fruits of the study are as follows: 1. Schlemmer's <Triadic Ballet>, his representative work, is recognized as the best example that embodies Bauhaus's education theory, in that he attempted to integrate art and machine through the <Triadic Ballet>. 1. Pulling down the boundaries between various media and those between various genres, or uniting various media and genres, Schlemmer succeeded in their organic combination. As a result of it, in the <Triadic Ballet>, he realized the ideal of the Total Art which Bauhaus's curriculum pursues. 1. Although the expressionistic and dadaistic inside of Bauhaus has been long buried by his formal face of both rationalism and functionalism, these two contrasting aspects are combined in the <Triadic Ballet> by Schlemmer who believes that an ideal man consists of the confrontation between the two faces, that is, Apollo and Dionysus.

참고문헌 (15)

  1. 권명광, "바우하우스" (1989), 미진사
  2. 박소영, "총체예술(Gesamtkunstwerk)관점에서 본 바우하우스 미술교육", 조형교육, (28), pp.207~242 (2006), 한국조형교육학회
  3. 박소현, "바우하우스의 기계인간 -모더니즘적 신체의 이중성", 현대미술사연구 제15집, 1, pp.213~252 (2003), 현대미술사학회
  4. 송혜영, "바우하우스의 교육이념과 슐레머의‘인물과 공간’", 미술사연구, (19), pp.271~296 (2005), 미술사연구회
  5. 유진경, ""오스카 슐레머의 추상무용 연구"미간행", 석사, pp.1990
  6. 윤민희, "학문적 통섭에 기초한 바우하우스 조형교육의 재조명", 한국디자인문화학회지, 14(4), pp.329~340 (2008), 한국디자인문화학회
  7. 이윤상, ""오스카 슐레머의 ‘삼화음 발레’에 나타난 공간 속에서의 예술 형상(Art Figure)움직임 연구"미간행", 석사, pp.2000
  8. Dearstyne. H, "바우하우스" (1985), 기문당
  9. Harries, K, "현대미술 : 그 철학적 의미" (1968), 서광사
  10. Hulme T. E, "휴머니즘과 예술철학에 대한 성찰" (1924), 현대미학사
  11. Schlemmer O, "바우하우스의 무대" (1925), 도서출판 과학기술
  12. Reunion des musées nationnaux, "Oskar Schlemmer" (1999), Musée de Marseille
  13. Thomson, P, "The Grotesque" (1972), Methuen
  14. Whitford, F, "Bauhaus" (1984), Hudson
  15. Wingler, Hans M, "The Bauhaus" (1969), The Massachusetts Institute of Technology

관련 논문AI추천

이 간행물의 다른 논문 (12건)