마르시아 시걸(Marcia B. Siege) 비평문에 대한 메타(meta) 비평 - 마르시아 시걸의「나잇 저니 Night Journey」평문을 중심으로 -

Abstract

The purpose is to suggest that the neccessity of meta analysis for criticism in gerneral to facilitate productive discussion of dance criticism. Meta criticism is usually understood as the criticism of criticism. The analysis of principles, methods and terminologies is performed by this study on theory of criticism, reviewer or disscusion on criticism. In this research I expected that the meta criticism could figure out practical logics of criticism, point out reviewer’ overall sight and be a seed for retrospective review after post-morden as a present view when the autonomy of criticism was possible. There are many ways for typing and methodology of meta criticism. In this study, the criticism of Marcia B. Siegel, 『The Shapes of Change: Image of American Dance』which described 「Night Journey」by Martha Graham (1947) was used as an example through the 2nd demensional analysis for review of criticism’1st demensional interpretational critical aspects and structures. Marcia’ meta criticism for the overall document of 「Night Journey」is as follow three aspects. First, the structure of criticism analyzed the entire product based on symbolic movement and the vision of totality for the main theme then, detailed description was added to understand the relation of tentions which emphasized in particial charaters to be understood by audience. Secondly, through the association of the image of delineated scene, the analysis and description was done for the stressed charator of performers created by the inter-relationship analyzed by visional relation and meaning as a whole scene. Especially, based on previous analysis’result, it is emphasized to interpretate the relation through the understanding of choreographer’ vision. In detail, through the inter-relationship between subjects related to the main theme, movement of performers and stage pastels, what is the meaning and expressive significance was interpretated. Lastly, this study evaluated Graham’ creactivity by comparison of Siegel’ products and others’ones and frames between play and dance. Conclusively, through the meta-analysis of dance criticism, I hope this trial can be a basis of creative disscusion which can be accepted by choreographers and readers as the practical logics of criticism and role findings although this study is only a initial trial of meta-analysis.