최현 작품의 미적 특징과 사상 연구

Abstract

Dancer Choi Hyun, who was born in Busan in 1929 and died in 2002, was recognized as a romanticist, a perfectionist, and a aesthete, and took an active part in modern dancing as a creative artist. He left over a hundred creative dances including dance plays, madang plays, and Korean traditional operas. Some of them, including Gunjamoo, Heohaengcho, and Bisang, are well known to, and much loved by, many people. His studies and efforts to maximize the beauty of Korean traditional dances on the stage and to instruct classical aesthetics of Korean dances still make an effect on many young students. He sought the balance of the features of male dances and the fineness of female ones. He emphasized that creation is handling with a highly disciplined mental world seeking a new one, and is a philosophical flower of an individual artist. He also told that dancing is not a light pleasure, but needs to be represented as a media of a dancer's opinion and thought in a reasonable and logical fashion so as to give an impression to the audience. These thoughts of him were reflected in this dances and shown as an expressionism, feminism, aestheticism, and romanticism. These conflicted with other trends of arts on the one side and they complemented each other on the other side. Taken as a whole, they could be interpreted as a branch of modernism. These trends played a role of a bridge between modern and contemporary dances, or new and post modern dances, and became a starting point of artistic development of Korean dances. In other word, these trends put Korean dances on a artistic track.