최현의 예술생애와 주요작품에 대한 연구

Abstract

This research is purposed to study art lifetime and major work of late Choi Hyeon who has kept the artistic flow in the last generation of Korean creative dance in dancing history, and to look into Korean creative dances. As a result of the study, we've come to following conclusions. (1) As for the theme of work, it has the matters that are beyond the time and space, framed of universal human situations and emotions. (2) In terms of dancing movement, mask play is often used in Gyeongsang Province as having the "Dutboigi Dance" (mask dance) as the main dancing movement, and which has its unique fine rhythm and excitement that characterizes delicacy of female dancers and magnanimity of male dancers harmoniously. (3) For effective elements, Korean traditional rhythm and instruments are often used for the music, creating creative songs by mixing with existing ones. In terms of costumes, it has reformed type of dress from Chosun Dynasty and Korean traditional clothing, yet is not reformed too much. For the art stage, Choi Hyeon pursued the beauty of space instead of the crammed and organized stage, and utilized props and devices to express the theme of work symbolically. If <Gunjamoo> means the discovery of female world, <Bisang> and <Heohaengcho> means the discovery of male world on the contrary. Choi Hyeon pursued strict educational value, thorough composition of work, expressive acting and mime, emotional expression, harmony of delicacy and technics in dancing, and improvisatory beauty. She was the last foundation stone followed by Cho Taek-won and Song Bum, and had debuted in dancing industry in 1964. She is a prominent figure who contributed to develop Korea's dancing industry as working as a dancer, choreographer and educator.