메를로 퐁띠의 예술과 춤 공연의 현상학적 접근

Abstract

This study aims to analyze the communication in the dance performance, based on Phenomenology and have a phenomenal access to it, focused on Ponty's art Phenomenology. The results can be followed; First, a body can be explained as a subject existing in the image of dance and Phenomenology of body deals with the body in terms of it. Husserl investigated methodological aspect of Phenomenology; founded on the studies of Hidegger, Sartre,and Ponty, his existential Phenomenology contributed to providing new concept of the body, by emphasizing 'Human being is living body'. Ponty concentrates on body-perception-subject, analyzes it, and ultimately attempts to explore human being. That is, a body became the main theme of philosophy by his effort. Second, Ponty does not distinguish 'body' from 'mind', and coins new existential concept, "la chair". La chair involves the existential, cardinal point of 'the visible and the invisible'; the meaning of existence becomes invisible. Therefore, being includes forms of the visible and invisible; the artist can be defined as a philosopher who reveals the truth of the existence through art work. He suggests advanced idea of existence; art theory interacts with existential theory each other. Last, Ponty sees human's being as human body: centering on human body, world or history, time or space, art or culture come to achieve real meaning. La chair can be also the subject of recognition, in which the body and world coexist; la chair is the foundation by means of the realization of 'seer' and 'the seen'. He has the idea that Phenomenology is based on dual existence of body. In terms of audience, dance performance is the object of vision; audience and performers are not only the subject but also the object of vision. In conclusion, the phenomenal access to dance performance should focus on the viewpoint that dance performance itself as body.