《풍랑을 뚫고》에 나타난 최승희 연출의 특징과 의의
The characteristics of Ch’oe Sung-hui’s directing of P’ungnang ul ttul’ko (Throughout the Storm) and the significance of her directing
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This study examines the characteristics of Ch’oe Sŭng-hŭi's directing of P’ungnang ŭl ttul’ko (Throughout the Storm) and the significance of her directing. In her dance performance P’ungnang ŭl ttul’ko, which had quite dramatic quality, Ch’oe Sŭng-hŭi showed a great directing ability. In P’ungnang ŭl ttul’ko, Ch’oe Sŭng-hŭi used a song as pangch'ang (the unique usage of musical chorus for performing arts in North Korea) as the accompaniment for the performance instead of an instrumental music. Also Ch’oe Sŭng-hŭi created a great Mise-en-scene with condensed representation utilizing the various elements of theatrical art including movement, blocking, stage setting, and lighting. In addition, by the well-calculated change of the theatrical convention from the representational to the presentational in the performance, she succeeded in dominating the audience during the performance. Ch’oe Sŭng-hŭi's directing competency shows that she was well accustomed to the techniques of Western performing arts or modern performing arts. Viewing Ch’oe Sŭng-hŭi as a "director" gives her a new meaning as a well-rounded artist, not limited as a mere "dancer." This point of view will extend the horizon of discourse about Ch’oe Sŭng-hŭi.
Abstract
This study examines the characteristics of Ch’oe Sŭng-hŭi's directing of P’ungnang ŭl ttul’ko (Throughout the Storm) and the significance of her directing. In her dance performance P’ungnang ŭl ttul’ko, which had quite dramatic quality, Ch’oe Sŭng-hŭi showed a great directing ability. In P’ungnang ŭl ttul’ko, Ch’oe Sŭng-hŭi used a song as pangch'ang (the unique usage of musical chorus for performing arts in North Korea) as the accompaniment for the performance instead of an instrumental music. Also Ch’oe Sŭng-hŭi created a great Mise-en-scene with condensed representation utilizing the various elements of theatrical art including movement, blocking, stage setting, and lighting. In addition, by the well-calculated change of the theatrical convention from the representational to the presentational in the performance, she succeeded in dominating the audience during the performance. Ch’oe Sŭng-hŭi's directing competency shows that she was well accustomed to the techniques of Western performing arts or modern performing arts. Viewing Ch’oe Sŭng-hŭi as a "director" gives her a new meaning as a well-rounded artist, not limited as a mere "dancer." This point of view will extend the horizon of discourse about Ch’oe Sŭng-hŭi.
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