온몸의 춤, 온몸의 논리 - 김수영의 시학에서 무용학으로
Dance of Onmom (Whole Body) and Its Logic From Kim Sou-young’s Poetics to a Choreographical Discourse
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Kim Sou-young (1921~1968) is one of the most important poets representing Korean literary modernism, and his original aesthetic thinking is called poetics of onmom (whole body). In this paper, I will try to apply his poetics into a choreographical theory, while arranging his scattered remarks on dance in a progressive order and commenting them in a systematic way so as to get a coherent image of dance. I will argue that the poetics of onmom implies ultimately a logic of tele-affection, in and by which auto-affection and hetero-affection of the body are coordinated to produce a new ideal scheme of world’ appearance, a logic of tele-affection in and by which a dancing body is reborn as pure differential whole body, liberated from subject-object relation, cultural codes and even from the musics.
Abstract
Kim Sou-young (1921~1968) is one of the most important poets representing Korean literary modernism, and his original aesthetic thinking is called poetics of onmom (whole body). In this paper, I will try to apply his poetics into a choreographical theory, while arranging his scattered remarks on dance in a progressive order and commenting them in a systematic way so as to get a coherent image of dance. I will argue that the poetics of onmom implies ultimately a logic of tele-affection, in and by which auto-affection and hetero-affection of the body are coordinated to produce a new ideal scheme of world’ appearance, a logic of tele-affection in and by which a dancing body is reborn as pure differential whole body, liberated from subject-object relation, cultural codes and even from the musics.
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