2023, Vol.92, No.3

The Korean Journal of Dance Studies 2023 KCI Impact Factor : 0.93

pISSN : 1226-900X / eISSN : 2713-9468
https://journal.kci.go.kr/krsds

The purpose of this study is to examine the changes in the audience’s participatory characteristics inSong Joo-won’s performance using virtual reality technology, 「20▲△」(2023), in response to theconcept of ‘emancipated spectator’ as mentioned by Jacques Rancière. As a result, on the unfamiliar and uncomfortable stage of ‘discord’ where dancers, audience,performance assistants, and different times and spaces coexist, a process of ‘re-division of senses’ wasdiscovered. In addition, a new way of sensory perception of appreciating work emerged, and theaudience was able to experience new ways of appreciating work. I was able to discover the form of‘free play’ that explores the work, recognizes its presence, and re-choreographs it. In this way, we were able to find the possibility of the emancipated spectator becoming an activeinterpreter, liberated through individual experience and intellectual adventure in a dance performanceusing VR.

This study aims to investigate the non-dance characteristics in amateur dance theatre, which havebecome a new trend in Chinese contemporary dance. It further reveals the attributes of amateur dancetheatre. This paper analyzes works such as Xiao Ke’s Republic of Dance and Xiao Ke, and Song Xinxin’sThe Vision of Yoyo based on non-dance theory. It discovers that amateur dance theatre uses nonprofessionaldancers as the starting point and exhibits critical characteristics similar to non-dance. Inaddition, they transform traditional dance concepts by combining participatory arts-based methods,using the self as a means to problematize personal experiences and expand into contemporary or sociohistoricalthemes, showing the non-dance characteristics of the dancer’s substantial existence and lack ofmovements. Simultaneously, amateur dance theatre maintains the stage setting of dance theatre tosupport non-professional dancers in personal narratives, presenting a distinct stage form from non-dance.

This paper aims to discuss the possibility of development of contemporary street arts by connectingstreet art, that experiments with an active relationship with the audience, to immersive theatre throughErika Fischer-Lichte’s ‘performativity’. To mediate street art and immersive theatre, Lichte’s concept ofshared bodies, shared spaces as the bodily co-presence of actors and spectators is applied. It wasconceived from the idea that street art, which faces the audience without boundaries, has manysimilarities with the characteristics of immersive theatre that are revealed in a post-drama theater. Theseries of 「Yeonhui Ghost Story」created by Nolplus is investigated as an example of exploring thepossibility of development to the contemporary street arts. The ‘Immersive street art’ is defined asembracing audience participation through active choices and intervention at a close distance between theperformer and the audience.