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The Influence of the Manifestos of Yvonne Rainer and Boris Charmatz on Transformations of Dance Spaces

  • The Korean Journal of Dance Studies
  • Abbr : KRSDS
  • 2025, 102(5), pp.1~16
  • Publisher : The Korean Society for Dance Studies
  • Research Area : Arts and Kinesiology > Dance
  • Received : November 15, 2025
  • Accepted : December 3, 2025
  • Published : December 30, 2025

Park Sung Hye 1

1한국예술종합학교 한국예술연구소

Accredited

ABSTRACT

This paper examines the transformation of performance spaces through Yvonne Rainer’s 「No Manifesto」, articulated while developing her 1965 work 「Parts of Some Sextets , and Boris Charmatz’s manifesto set forth in 2008, coinciding with his conversion of the National Choreographic Center into the Dancing Museum. To this end, interviews as well as related papers and writings were analyzed. Rainer, by advancing a new form of avant-garde practice, challenged the authority of the traditional theater and established a new, and expanded relationship with the audience. Charmatz, by situating his choreographic practice within the museum, presented a conception of the body that operates within the ‘Living Museum’ and the ‘Non-Material Museum.’ As a result, the choreographer’s practice reclaims and reshapes space, allowing it to be perceived anew.

Citation status

* References for papers published after 2024 are currently being built.

This paper was written with support from the National Research Foundation of Korea.