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A Study on the Attributes of Deconstruction in Modern Dance of Kore - Focused on the 8th Invitational Performance of Young Dancers by Critics-

박나훈 1

1성균관대학교

Candidate

ABSTRACT

This paper looked into Jacques Derrida, the founder of Deconstruction, the study of concept, the study on "Invitational Performance of Young Dancers by Critics" and the intrinsic attributes of deconstruction in the performance. Furthermore, it presented a couple of propositions on the accommodation, of deconstruction. The research investigated how the concepts of intertextuality, differance and decentering and destruction by Jacques Derrida were unfolded in the dance according to the types of choreography. The findings are as such: In terms of intertextuality, other genres and foreign dance trends are combined. The attributes of differance was in the creation of virtual space and the distortion and expansion of time and space. The decentering of deconstruction was revealed in the encounter with theatrical art, the destruction of the existing orders through collage, the repetition of motions and the borrowing of everyday movements, and the shift of interest from the existing formal dance to peripherals. Lastly, the attributes of destruction was in the new visual approach of modern reinterpretation through the destruction of traditional dance and originals; an attempt to switch from a non-verbal language to the use of language and words; the use of regular lights; and the replacement of silence with the 30-minute dancing performance. Through the Invitational Performance of Young Dancers by Critics, such attributes as the destruction of the existing choreography and the presentation of a new meaning to the stage were disclosed. As such, the attributes of deconstruction on the existing ways for the sake of the change of theatrical aesthetics have the limitations in terms of its accommodation. First, the integration of analytical and independent mode. Second, a deeper study on the prototype of our dance is needed. Third, to nurture an subjective attitude through the existing sensuous training. In conclusion, this paper has its significance in that it aimed to broaden the horizon of dance aesthetics with an independent perspective beyond indiscreet acceptance of deconstruction.

Citation status

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