춤에서 우연의 개념과 확장 가능성 탐색: 작품의 창작 및 수용 과정을 중심으로
A study on the concept of chance and its potential for expansion in dance: Focusing on the process of creating and accepting work
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This study aims to explore the humanistic domain of “chance”, which is considered difficult to approach even with technology such as machines or robots. Accordingly, the purpose is to examine the various concepts of chance that have been created through works of art and to focus on the specific aspects of how chance has been utilized in the process of creating and accepting dance. To look into the different aspects of chance that are involved in the choreographic process, this study selected and analyzed works by Cunningham, Bausch, and McGregor. The first form in which chance is utilized in dance is a method of extracting memories and experiences from the unconscious of the dancer with minimum intervention of conscious in their movements. The second form involves the choreographer relinquishing the control of dance composition not only from their own conscious decisions but also from their unconscious, transcending the individual choreographer and turning the decision-making process 'outward'. The third form of chance involves presenting a range of possibilities to the choreographer through the probability of artificial intelligence and the ambiguity of algorithms, which can result in a different outcome each time, expanding the choreographer's range of choices. This study aimed to explore “external realm” beyond the choreographer's thoroughly planned intentions. Therefore, this study focused on the choreographic methods that create dance ‘outside’ of the consciousness of the artist or even ‘beyond’ the artist by activating the periphery that excludes the range consciously intended by the artist. As a result, it was possible to confirm that chance deeply intervenes in the creating and accepting processes of art in various forms, affecting them in new and creative ways, much like our lives do not always flow as intended.
Abstract
This study aims to explore the humanistic domain of “chance”, which is considered difficult to approach even with technology such as machines or robots. Accordingly, the purpose is to examine the various concepts of chance that have been created through works of art and to focus on the specific aspects of how chance has been utilized in the process of creating and accepting dance. To look into the different aspects of chance that are involved in the choreographic process, this study selected and analyzed works by Cunningham, Bausch, and McGregor. The first form in which chance is utilized in dance is a method of extracting memories and experiences from the unconscious of the dancer with minimum intervention of conscious in their movements. The second form involves the choreographer relinquishing the control of dance composition not only from their own conscious decisions but also from their unconscious, transcending the individual choreographer and turning the decision-making process 'outward'. The third form of chance involves presenting a range of possibilities to the choreographer through the probability of artificial intelligence and the ambiguity of algorithms, which can result in a different outcome each time, expanding the choreographer's range of choices. This study aimed to explore “external realm” beyond the choreographer's thoroughly planned intentions. Therefore, this study focused on the choreographic methods that create dance ‘outside’ of the consciousness of the artist or even ‘beyond’ the artist by activating the periphery that excludes the range consciously intended by the artist. As a result, it was possible to confirm that chance deeply intervenes in the creating and accepting processes of art in various forms, affecting them in new and creative ways, much like our lives do not always flow as intended.
참고문헌 (39)
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