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올림픽 개막식 예술프로그램의 구성과 안무의 특성
1980-2016 하계 올림픽을 중심으로

DC Field Value Language
dc.contributor.advisor나영일-
dc.contributor.author김지윤-
dc.date.accessioned2019-05-07T06:12:43Z-
dc.date.available2019-05-07T06:12:43Z-
dc.date.issued2019-02-
dc.identifier.other000000155152-
dc.identifier.urihttps://hdl.handle.net/10371/152377-
dc.description학위논문 (박사)-- 서울대학교 대학원 : 사범대학 체육교육과, 2019. 2. 나영일.-
dc.description.abstract본 연구는 인류 최대의 퍼포먼스라 할 수 있는 올림픽 개막식에서 무용의 출 현 시기, 형태, 이를 구성한 당대 무용 예술가들의 활동을 역사적 방법으로 고 찰하였다. 본 연구의 목적은 올림픽 개막식 예술프로그램의 내용 구성과 변화 과정을 살펴보고 그 안에서의 무용 형태를 분석하여 이를 바탕으로 안무의 특 성을 밝히는 것에 있다. 이를 위해 올림픽 개막식 예술프로그램이라는 용어가 시작된 1980 모스크바 올림픽부터 2016 리우 올림픽까지 하계 올림픽 개막식 을 중심으로 예술프로그램의 공연 구성과 무용 출연 내용의 역사적 자료를 구 축한 목록을 제공하였다. 그리고 스포츠 메가 이벤트인 올림픽이라는 문화 현 상 안에서 스포츠라는 타자와 함께 공존해 온 무용이 담지한 미적 의미의 역사 적 변화를 추적함으로써 안무의 역사적 의미를 탐색하고 스포츠의 시각에서 주 로 다루어져왔던 올림픽의 예술적 속성을 탐색하였다.

이러한 목적을 달성하기 위해 첫째, 올림픽 개막식 예술프로그램 내용의 구성, 둘째, 올림픽 개막식 예술프로그램의 무용 형식과 참여 안무가, 셋째, 올림 픽 개막식 예술프로그램 무용의 특징, 넷째, 올림픽 개막식 예술프로그램 안무 의 변화 양상, 다섯째, 올림픽 개막식 예술프로그램 안무의 특성을 탐색하는 것 을 연구 문제로 설정하였다. 이를 위해 올림픽 공식 보고서와 현재에 남겨진 영상 자료를 주요 텍스트로 설정하여 연구를 진행하였다. 도출된 연구결과는 다음과 같다.

첫째, 총 10회의 하계 올림픽(1980 모스크바 ~ 2016 리우) 개막식을 개막식 의 개요, 예술프로그램의 구성, 무용 해석으로 나누어 분석한 결과, 개최 당시 의 정치·사회적 현상으로 인한 주요 이슈가 개막식 구성에 영향을 끼쳤으며, 해 당 주최국의 사회·문화적 입장의 반영이 예술프로그램에 나타나고 있었다. 둘 째, 참여 안무가는 총 20명으로 개막식은 각자의 안무 경향이 충분히 발현된 형태의 독자적인 예술 작품으로 존재하였다. 무용은 DA1부터 DA44까지 총 44 개 형태로 출연하고 단체안무(Mass Choreography)가 주된 형식으로 나타났으 며 민속무용, 발레, 현대무용, 스트릿댄스, 탭댄스, 스윙댄스로 구분되었다. 셋 째, 개막식 무용의 특징은 세 가지로 분류할 수 있는데, 1) 전통 춤과 현대 춤 이 공존하는 안무, 2) 올림픽 경기를 위한 고무적 역할이라는 기능에 충실한 안무, 3) 개최국의 역사 서술의 은유적 발현을 위한 표현의 도구로 활용되는 안무이다. 이러한 개막식 안무는 선수들을 독려하고 축제 분위기를 조성하면서 스포츠맨쉽에 대한 기대를 담는 공통점이 드러나는 동시에, 그 염원 안에 개별 주최국의 국가 역사와 의식을 독자적으로 무용 안에 함축하여 상징화하여 드러 내는 작업을 각 국가의 전통 춤 양식을 새로운 안무 방식과 융합하고 있었다. 넷째, 안무의 형태는 구성, 표현, 공간으로 나뉘어 분석했을 때 다음의 변화 양 상을 보였다. 1) 안무 구성은 스포츠 시연에서 예술 공연으로 변화하였으며, 전 시-서술-서사의 세 단계를 거쳐 지금의 모습을 갖추게 되었다. 2) 안무 표현은 전통의 재현에서 전통의 재해석으로 변화하였으며, 이런 재해석 과정으로 인해 단일 표현 양식이 복합 표현으로 변모하였다. 3) 안무 공간은 평면에서 입체로 변화하였으며 전체의 움직임에서 개인의 움직임으로의 주목이 가능한 공간으로 탈바꿈하였다. 다섯째, 안무의 특성은 문화 퍼포먼스의 상호텍스트성, 스포츠와 무용의 통섭, 안무 개념의 탈경계화 세 가지로 나타났다. 올림픽 개막식에서 안 무는 관중들에게 그 나라의 역사와 문화를 소개하고 소통을 위한 의미 전달의 핵심적 지위에 있었다. 올림픽 개막식이라는 시공간에서 무용이 문화 퍼포먼스 로서의 의미를 생산하는 상호텍스트로 존재하며, 문화 소통의 플랫폼으로 작용 하고 있었다. 이는 스포츠와 무용의 통섭으로 해석할 수 있다. 올림픽 개막식 예술프로그램은 다른 속성을 가진 문화 행위가 같은 시공간에서 펼쳐지고 있는 대표적 사례라 볼 수 있다. 통섭이 언제나 경계를 확장하듯이 올림픽 개막식 예술 프로그램의 안무 또한 기존의 안무 개념이 확장되어 기존 무용 안무에서 볼 수 없는 올림픽 개막식 안무라는 하나의 독립된 형태로 존재하고 있었다. 즉 올림픽 개막식 프로그램의 안무가 기존 안무 개념의 경계를 벗어난 지점에 서 새로운 안무의 개념을 제시하고 있는 것이다.

본 연구는 올림픽 개막식 예술프로그램에 관한 최초의 역사적 연구이기에 차 후 다음과 같은 연구가 지속되어야 할 것이다. 올림픽 연구를 통한 스포츠와 무용의 접점을 다루는 심층 연구, 특정한 안무 형태의 하나인 올림픽 개막식 안무를 위한 콘텐츠 개발 연구, 올림픽 개막식 안무를 무형적 유산으로 인식하 여 접근하는 연구가 필요하다. 올림픽 개막식 예술프로그램 연구는 스포츠의 범주와 안무의 개념을 더욱 확장하는 시도가 될 것이다.
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dc.description.tableofcontentsI. 서론···········································································································1



1. 연구의 필요성 ······························································································· 1

2. 연구의 목적 ···································································································· 6

3. 연구 문제 ········································································································ 7

4. 선행연구 검토 ································································································ 7

5. 용어의 정의 ·································································································· 14



II. 이론적 배경 ·························································································· 16



1. 올림픽 개막식의 역사··················································································16

2. 올림픽 개막식 예술프로그램 ······································································ 25

1) 국제올림픽위원회가 제시한 개막식 ······························································ 25

2) 개막식과 예술프로그램에 대한 논의 ···························································· 28

3. 올림픽 개막식 예술프로그램의 변화 ·························································· 36

1) 예술프로그램이 없는 시기 (1908 런던–1932 로스앤젤레스) ··················· 38

2) 예술프로그램 유사 형태의 시작 (1936 베를린–1976 몬트리올) ·············· 41

3) 예술프로그램 용어의 등장과 발전 (1980 모스크바–2016 리우) ·············· 43

4. 올림픽 개막식과 안무 ················································································· 46

1) 안무의 개념 ··································································································· 46

2) 메가 스포츠 이벤트에서의 안무 ································································· 50

3) 올림픽 개막식 안무가 활동 현황 ······························································· 55



III. 연구방법 ······························································································· 60



1. 주요 분석 자료 ···························································································· 60

1) 국제올림픽위원회 발행 자료 ······································································· 60

2) 주최국별 올림픽조직위원회 발행 공식보고서 ··········································· 61

3) 영상 및 문헌 자료 ······················································································· 63

2. 자료 분석 및 해석 방법 ·············································································· 64

3. 연구의 제한점 ······························································································ 70



IV. 연구결과 및 논의················································································73



1. 올림픽 개막식 예술프로그램의 개요, 구성, 요소 분석 ························· 73

1) 1980 모스크바 올림픽 ··············································································· 73

2) 1984 로스앤젤레스 올림픽 ········································································ 79

3) 1988 서울 올림픽 ······················································································ 84

4) 1992 바르셀로나 올림픽 ··········································································· 91

5) 1996 애틀랜타 올림픽 ··············································································· 98

6) 2000 시드니 올림픽 ················································································· 104

7) 2004 아테네 올림픽 ················································································· 112

8) 2008 베이징 올림픽 ················································································· 118

9) 2012 런던 올림픽 ···················································································· 126

10) 2016 리우 올림픽 ·················································································· 132



2. 올림픽 개막식 예술프로그램 무용 형식 및 안무가 ····························· 141

1) 무용 형식의 경향 분석 ············································································ 141

2) 예술프로그램 참여 안무가 ······································································· 151

3. 올림픽 개막식 예술프로그램 무용의 특징 ··············································· 165

1) 전통 춤과 현대 춤의 공존 ······································································ 165

2) 경기를 위한 고무적 역할 ······································································ 167

3) 역사 서술의 은유적 발현 ········································································ 169



4. 올림픽 개막식 예술프로그램 안무의 변화 양상 ··································· 174

1) 안무 구성의 변화 ··················································································· 174

(1) 스포츠 시연에서 예술 공연으로 ······················································ 174

(2) 전시­서술­서사 ·············································································· 176

2) 안무 표현의 변화 ··················································································· 180

(1) 전통의 재연에서 재해석으로 ···························································· 180

(2) 단일 표현에서 복합 표현으로 ·························································· 182

3) 안무 공간의 변화 ······················································································· 185

(1) 평면 공간에서 입체 공간으로 ·························································· 185

(2) 전체의 움직임에서 개인의 움직임으로 ········································· 187



5. 올림픽 개막식 예술프로그램 안무의 특성 ············································ 191

1) 문화 퍼포먼스의 상호텍스트성 ······························································· 193

2) 스포츠와 무용의 통섭 ················································································ 196

3) 안무 개념의 탈경계화 ················································································ 200



V. 결론 및 제언 ····················································································· 207



1. 결론 ········································································································· 207

2. 제언 ········································································································· 211

1) 올림픽 개막식 예술프로그램을 위한 제언 ············································· 211

2) 후속 연구를 위한 제언 ·········································································· 213



참고문헌 ···················································································································· 215



Abstract ····················································································································· 240
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dc.language.isokor-
dc.publisher서울대학교 대학원-
dc.subject.ddc796-
dc.title올림픽 개막식 예술프로그램의 구성과 안무의 특성-
dc.typeThesis-
dc.typeDissertation-
dc.description.degreeDoctor-
dc.contributor.affiliation사범대학 체육교육과-
dc.date.awarded2019-02-
dc.title.subtitle1980-2016 하계 올림픽을 중심으로-
dc.identifier.uciI804:11032-000000155152-
dc.identifier.holdings000000000026▲000000000039▲000000155152▲-
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