학문으로써의 춤에 대한 문맥적 상정을 반영하는 무용기록문헌에 관한 연구
A Study of Dance Literature Reflecting Contextual Presuppositions about Dance as an Academic Field of Study
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To investigate cultural significance of dance literature, this research examines three dance treatises, including Guglielmo Ebreo's On the Practice or Art of Dancing(1463), Pierre Rameau's Maître à Danser(1725), and Doris Humphrey's The Art of Making Dance(1959). In order to propose dance as a serious art form and an independent field of study, these treatises explained theories of dance by adapting academic strategies, structures, and concepts that were valued by their respective historical era. Comparing their characteristic ways of theorizing dance, this study argues that each dance literature selects certain kinds of information and certain modes of expression, which reflect the authors' peculiar understandings of dance as well as the typical tendencies of the academia of the periods. First, Guglielmo applied structure and concepts used by Humanist writers. He founded his theory of dance on classic references, while adapting the perspectives on the value of mathematics and abstract principles. Second, Rameau shows an attitude towards the body and movement similar to that generated by scientific revolution and mechanical philosophy of the time. Rameau explains the body by the terms of anatomy and describes movement with the terms of geometry and physics. Third, Humphrey follows modernist art theory which emphases the purity of medium. She focuses on movement principles based on the physicality of human body. With this focus, Humphrey argues for dance as an independent art and a field of study. These characteristic modes of writing on dance signify that the qualities which dance has to have in order to claim its academic status depend on what kinds of knowledge a cultural context values. Recognizing the dance treatises' peculiarities required by their historical and cultural contexts, this research suggests that academic writing of dance needs to respond flexibly to the demands of our time.
Abstract
To investigate cultural significance of dance literature, this research examines three dance treatises, including Guglielmo Ebreo's On the Practice or Art of Dancing(1463), Pierre Rameau's Maître à Danser(1725), and Doris Humphrey's The Art of Making Dance(1959). In order to propose dance as a serious art form and an independent field of study, these treatises explained theories of dance by adapting academic strategies, structures, and concepts that were valued by their respective historical era. Comparing their characteristic ways of theorizing dance, this study argues that each dance literature selects certain kinds of information and certain modes of expression, which reflect the authors' peculiar understandings of dance as well as the typical tendencies of the academia of the periods. First, Guglielmo applied structure and concepts used by Humanist writers. He founded his theory of dance on classic references, while adapting the perspectives on the value of mathematics and abstract principles. Second, Rameau shows an attitude towards the body and movement similar to that generated by scientific revolution and mechanical philosophy of the time. Rameau explains the body by the terms of anatomy and describes movement with the terms of geometry and physics. Third, Humphrey follows modernist art theory which emphases the purity of medium. She focuses on movement principles based on the physicality of human body. With this focus, Humphrey argues for dance as an independent art and a field of study. These characteristic modes of writing on dance signify that the qualities which dance has to have in order to claim its academic status depend on what kinds of knowledge a cultural context values. Recognizing the dance treatises' peculiarities required by their historical and cultural contexts, this research suggests that academic writing of dance needs to respond flexibly to the demands of our time.
참고문헌 (17)
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