현대무용의 발전에 나타난 철학사상(2) -현상학을 중심으로

Abstract

The Thesis intends to penetrate into dance by phenomenological discussion that is understood by explaining of 'perpetual beginning' as well as the principal- phenomenological concepts and the relationship to dance. Physical thought as a cognitive subject by Merlo-Ponty insist on the idea of mind-body unity. His idea provided the background for the development of our body into the dancer's body as an art, however, did not accomplish an artistic viewpoints. He clarified the body as a general means for the body's possession of world, so that recognize the importance of cognition of dancer's body and approved the dance as an art. He discussed 'lived experience' and 'time' through human consciousness-body. The cognition of dance is the embodied cognition in phenomenology even though it had been recognized intellectual and logical. Body is the subject. Intellectualism considered the subject of sense as the pure self. Nevertheless body is the speculating subject, sensing and experiencing subject. The thesis also discusses the reciprocal quality of body. It begins in bodily action with the intentionalitat of consciousness. The intentionalitat of consciousness is not different from that of body. The dance originated from the perception of body expresses the bodily primacy, at the same time the expression as the primary action of embodied consciousness, is not that 'I think' rather than that 'I dance'. The primary action of significant-effect represents the significant effect by actual dancing starting from the actual possibility of dancing. That is dance is the original action of significant effect. 'Dancing body asserted by the Judson Dance Theatre during the 1960s is also comprehended by such action of significant effect.