KCI등재
퍼포먼스로서의 공간연출 -윤정섭의 연출작업에 대한 소고 = The Theatricality of Installation Space-Spatial Produce work of Jungsup Yoon
저자
발행기관
학술지명
권호사항
발행연도
2003
작성언어
Korean
등재정보
KCI등재
자료형태
학술저널
수록면
273-301(29쪽)
제공처
Jungsup Yoon practiced as a IV artist, a commercial-film director, a stage designer, and a producer who utilizes stage works, space as direct objects. Yoon as a designer began a stage works 1980, since < Heavy water >in 1998; he introduced original spatial directing with his own production. He is quite experienced as a painter along with the interest in spatial producing. He majored in plastic arts and excels to formulate perfonning elements with pictorial imagination about the material and object. < Heavy water >, < clothes, shaman ritual, sal by Byungbok Lee >, < icy river > ere, were produced using his basic theatrical essences; human body, motion, light, and sound and also with pictorial form of space and time. The sound is an important substance of pictorial design for him. He not only feels the sound audibly but also designs viewing it dimensionally. Making the sound an object is a conclusion more than rightfully. This report researches about spatial figure and meaning focusing those works designed cubically. His attempts relates with discussion about new stage preference, experiment and spatial directing of picturesque theatre, which many artiste participated after 20 century. That sort of tendency is diverse and productive, as the modern theatrical history has indicated. In his works, a discussion about such as nonlinguistic expressive potentials, theatrical media, especially rediscovery of a body, promotion of that expression, new communication, and ultimately, theatrical elements in multimedia lines up. What was mentioned above, Yoons spatial directing works above mentioned (making the sound an object ere.) has an obvious trace, described right above. Merely, Yoons Korean view makes it unique motive and form. Yoon express his own installation artwork theatre. For instance, < art exhibition of the year > 1996, at the Korean national theatre and the second exhibition. < TIME, SPACE, IMAGE-of all the people, all the people, bathe >, huge and dark toned bathtub and the locker seen in the picture, time, space, image>is called a theatre. Yoon begin theater with installation art, and its theatrical nature originates in the symbolic nature of the material and an object and its expansion of time. The objects similar to water, shoes, and clothes are symbol of; the artist himself has seen Korea and the world, that world and travel of time at the same time, statement of now and future. The material and the object offer exceptional meanings and worth for Yoon. But it is like in the case of Robert Wilson; not totally ready made like an object unrelated with literary text. It is not the object that demonstrates destruction of ones flavor. Firstly, Yoons object is symbolic media. He gets that idea from the theory of Gaston Baslar. According to Baslar existent attribute reveals through material imagination of human, on the same token, he claims that. one realizes the imagination to create art works comes from material imagination well. He used water; fire, air, and soil, in reality, Yoon and performing arts manage these materials intensely. The original symbolic nature becomes an interesting start in accepting a work. < Time, Space, Image-of all the People, All the people, bathe > The big box in the bathroom would bean image of a dark past, and water pouring down from the shower nodule accelerates an exhibition more dramatically. It could be linked with motherly imagination. Soft water, could also rinse out the gloomy history, violent water, or could be the one symbolize anxiety and fear of Aushbit Bath house. This application actualizes on the stage. Yoons material is. not only. a matter of symbolic mark; it could transfigure as the shape itself or object material itself The art exhibition of the yearl996, his first one, < IXXUMENTA -space and time towards human >, he displayed a television picture tube, the glasses, the clothes, a naked interior of a car frame, and the military goods, and a helmet, a gun, shoe-s; not only these .but also space of a workroom as it . stands. He separates the tools used on the stage from stage preference and installs them as an individual object in the exhibition space. The materials do not demand a certain synopsis or notion, as itself is. The material is in the exhibition stands as itself The substance out of routine symbol earns more dynamic nature of material, it transforms to an experiencing objects. According to them, we become more aware through experience those rather. than through information or tradition. Yoon expresses his theatre is the theatrical fundamental elements of formation: space, light, sound, human, and time. He considers the non-biological entities, their aesthetic values, the process of becoming alive of the object as a theatre. To Yoon, space itself means little, only through elements formation and subjective experience, subsequently the one is recognized as space. A human is media only to confirm the existence the designer in Yoons stage. Byung bok Lee, a designer presents < Garment, shaman ritual, and sal >, which is an image theatre presenting humans motion without words but only with garments, dust (soil), light, sound. < Icy River > is an image theatre as well. Looking for memory, looking for self Yoon described as such, concentrate on their feet, cautiously taking steps on the river, thinly coated with ice. Those foot prints are dangerous, lyric question mark regarding our entire life. One should refer to abstract mime, poetic echo surrounded with fear of exsitance. Experience of time, the expression is extremely important to Yoon. It is contents of the abstract works and determining factor of expressive method. As though he would edit films of the past and presence, forming and interconnecting works is traditional. Time is not absolute to Yoon. Not pre-experienced either is a result of subjective experience and is internal, subjective, being felt. Yoons abstract spatial directing slow movements, repeated movements, or usage of silence is very typical. The subjective time experience grows to be more sensible through slow motion.
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