<내일을 여는 춤>과 <바리바리 촘촘 디딤새> 기획공연에 나타난 공연형태분석

Abstract

The purpose of this study was to analyze the performance forms of Korean creation dance works played as the special performance at Changmu post theater(a small dance theater) and Byeolorum theater ( a small one in National Theater of Korea), from 2004 to 2013. The results were as follows:First, the number of Korean traditional dance employed for Korean creation dance in the special performances such as 'Dance opening tomorrow' at Changmu post theater and 'Baribatri chomchom didimsae' at Byeolorum theater is 98 altogether, with Sal-pu-ri dance accounting for 20.4%, the greatest, which mean that the emotion inherent in Sal-pu-ri dance corresponded with the Koreans to a great extent and that Sal-pu-ri dance was frequently being learned. Second, according to the frequency analysis on choreography elements of Korean creation dance in the performance, in 'Dance opening tomorrow' and 'Baribatri chomchom didimsae' the choreography factors borrowed from Korean traditional dance were found to be used 175 times; with symbol(image, emotion, and idea) occupying 44%, movement (gesture and breathing) 20%, props 14.3%. As mentioned above, the reason why symbolic factors were most remarkable might be attributed to the fact that the symbolic aspect tend to showcase the feeling of dance and the message the choreographers involved were eager to convey. Third, regarding development strategies by dint of analysis on performance types, it was highly recommended that Korean traditional dance not registered as cultural properties also be produced, considering that most of the Korean traditional dance displayed in the special performances. 'Dance opening tomorrow' and 'Baribatri chomchom didimsae' had been designated as cultural assets. It was also shown that the percentage of symbol, movement, and props of choreography components from Korean traditional dance accounted for 78.3%, which indicated that the choreographers were required to apply the diverse factors like space, setting and music in Korean traditional dance to creation dance and that planning of dance orientation considering the context should be made. Last but not least, dance performance at the small theater was constantly to be implemented along with continued support and the choreographers who took part in the performance were supposed to produce the creation dance compatible with the intention of performance and improvement the quality of dance.