몸의 연극과 관객의 몸을 위한 시론 : 기(氣)와 "흥(興)"에 관련하여 = Body-centered Theatre and Audience`s Body

다국어 초록 (Multilingual Abstract)

Recently various kinds of discourses about body are flourishing. We have known ``theatre of body``, body-centered theatre for a long time. Artaud advocated earlier that "cruelty is not representation of life but it is life itself" and he tried to foreground cruelty to emphasize theatrical physicality. To Grotowski or Eugenio Barba, performers` bodies are theatre itself too. Body is more important for the performances like pantomime or body arts. Meanwhile, since around 1990s, theatre materials like soil, water, fire have been frequently appeared onto the stage as another kinds of theatrical bodies and now it is widespread scenery we can meet in the theatre. Regarding this, some theatre people have begun to think with the audience that theatre stage may really exist; Theatre may not be mere a collection of empty signs for language and meaning as we heard from semiotics. We may need phenomenalistic approaches which entertain sense and body and open us to the object or material on the stage. From the view of Merleau-Ponty, body is perception, and a medium or a window that leads us to the world. In this sense, audience body is as important as theatre`s body. We may say that performance is made somewhere between theatre`s body and audience`s body. In fact, the audience participates in the performance with their bodies as well as with their intellect, eyes, and ears. Korean theatre have desirable condition to conduct theatre of body. Korean are familiar with spiritual energy ``gyee`` which is special concept or phenomenon common to Northeast Asians. ``Gyee`` means life, energy, and source of power. It exists between nothingness and being. Also it is pure spirit as well as pure material, and it reveals itself through human body as a vechicle. Performance arts including theatres are the best medium where ``gyee`` can be applied effectively. Performance art vitalizes ``gyee`` through the body and communicates with the audience through ``gyee``. First of all, acting exhibits ``gyee`` through the body, When performers act out their ``gyee`` they show abdominal breath, relaxed muscle, good circulation of blood, internal impulse, and creative psychological process through the voice, facial expression and movement. During the performance performer`s ``gyee`` is carried directly into the audience. On the other hand audience can return ``gyee`` to the performers after they received their ``gyee``, Heung is an another element of the Korean performing art whim flows out of the moment of mutual happiness and energy of both performer and audience. Many performers feel they are responding to audience`s ``gyee`` and ``heung`` with their mind and body, Korean modem theatres as well as Korean traditional performances have these spiritual and material energy of ``gyee`` and ``heung`` in the relationship of audience. In addition, it is interesting to note that the logic of ``gyee`` and ``heung`` has something common with the major tendencies of contemporary thoughts by Whitehead or Dleuze, the philosophy of material existentialism of formation, being, and becoming under the influence of modem physics of biology.

국문 초록 (Abstract)

현재 서구 연극계를 중심으로 이루어지고 있는 ``몸의 연극론``에 관한 논의는 기대에도 불구하고 그 내용이 충분히 심층적이거나 체계적이지 못한 상태다. 또한 무대 위의 ``몸``을 대상으로 할 뿐 관객의 몸 까지는 다루고 있지 않다. 한국의 공연예술에서는 전통적으로 관객의 역할이 중시되어왔다. ``氣``와 ``興`` 등이 근저에 자리 잡고 있는 한국의 공연예술은 ``몸의 연극론``과 맞닿아 있을 뿐 아니라 ``관객의 몸``에 관한 논의의 가능성까지를 포함하고 있다. ``기``, ``흥``의 개념 들은 공연자 못지않게 관객의 존재성과 양자 간의 친밀하고 강력한 교류를 전제로 하고 있기 때문이다. 또한 우리의 몸 담론이라고 할 수 있는 기와 흥 의 미학은 내가 세계의 일부로서 존재하는 것으로 보며 나와 대상을 연결하는데 있어서 정신과 물질이 불분명하게 뒤섞이는 생성과 과정성을 중시하는 서구의 탈 근대적 철학과 과학에 맞닿아 있다는 점에 주목해야 한다.