학위논문 (석사)-- 서울대학교 대학원 : 협동과정 공연예술학전공, 2014. 8. 신혜경.Abstract
The study on Erika Fischer-Lichtes performance theory
-Focusing on the The Aesthetics of the peformative -
Inkyung Baik
Interdisciplinary Program in Performing Arts Studies
The Graduate School
Seoul National University
The present study examines the aesthetics of the performative as a new paradigm for performance. To do so, this study reconstructs Fischer-Lichtes research on performance with its major concepts, and seeks the significance and possibilities of the aesthetics of the performative based on it. Fischer-Lichte points out that in the traditional perspective of performance, action on stage has been considered to be expressing a pre-existing thing. She opposes such view and defines action as performative. According to Fischer-Lichte, actions cannot express something. Rather, actions allow perceivers and actors to meet and let the surrounding social reality to be formed. Fischer-Lichte presumes performance as the epitome of such performative action, and sets out to reinterpret the old ideas of theatre with the new concept of performativity. Traditional concepts of theatre have their roots in the dichotomous world view that divides stage and audiencesign and signifiertheatrical text and actionand mind and body. Fischer-Lichte, however, applies the concept of performative action in analyzing performance, and thus brings in those oppositions into relationships or processes. Performance is formed in between those emerging relationships and proceeding processes.
This notion of performance is strengthened by the autopoietic feedback loop. While the concept of performativity in Fischer-Lichtes research explains the process in which performance is formed by participants, the autopoietic feedback loop explains the characteristics of perception that participants experience in performance. This is the aesthetic quality of performance that Fischer-Lichte emphasizes. Autopoietic feedback loop connects every individual that circulates and coexists in the performance space, and creates a total network. Due to such condition, a unique environment for perception is formed in performance. With the feedback loop that connects among individuals, and between the whole and the individual, performance forms itself as an organic whole or an autopoietic system. The concept of autopoiesis is important in Fischer-Lichtes theory, since the condition of formation for autopoietic feedback loop is the same as that for performance, and they both require the bodily coexistence of participants. Therefore the aesthetic quality of performance equally exists in all kinds of performanceyet due to this reason, every event of the same performance is formed differently depending on the conditions of the individuals that construct it. Through the discussion of the aesthetic quality of performance, it is apparent that Fischer-Lichte considers performance as a system itself, as a structurally determined system that cannot be determined by exterior elements but only by the structural changes from withinand defines this system as event.
Fischer-Lichtes study on performance analyzes the phenomena produced in performance, and systemizes them as an aesthetic theory by finding their unique generalities. When explaining performance, Fischer-Lichtes aesthetics of performance does not let external values interfere and judge the performance, but only accepts the unique generalities that each performance produces. This perspective seems to agree to the autonomy that traditional aesthetics had granted art, but also opposes to it. The quality of event that Fischer-Lichte has given to performance allows us the realization of the world being produced by ourselves, and that of ourselves continuously changing due to that world. The aesthetic quality of performance lies in the dynamics that live, move, and thus change. Such quality cannot be explained by the traditional aesthetics, which evaluated the value of art with an emphasis on the work as an objective thing, and rather resembles the uncontrollable nature of our lives. The aesthetics of the performative thus advances to the aesthetics of life.서론 1
Ⅰ. 행위 개념의 수행적 전환
1. 수행적 행위 개념의 철학적 근거 6
1.1. 오스틴의 언어행위 이론에서 나타난 수행성 개념 7
1.2. 버틀러의 젠더 이론에 나타난 수행성 개념 11
2. 수행적 행위에 기초한 연극 개념의 전환 14
2.1. 수행적 행위의 체화 과정 14
2.2. 지각 행위에서의 의미화 과정 18
2.3. 신체적 공존에 기반한 현존의 현상 21
Ⅱ. 퍼포먼스 미학 이론의 구성
1. 퍼포먼스의 미적 특성 26
1.1. 원리: 자기생산적 피드백 루프의 생성과 활성화 27
1.2. 과정: 이분법의 불안정화 현상 30
1.3. 결과: 변화를 유발하는 경계적 경험 33
2. 퍼포먼스 미학의 기본 구조 36
2.1. 작품에서 이벤트로 36
2.2. 미장센: 이벤트 형성을 위한 조건 설정 38
2.3. 미적 경험 : 이벤트에 내포된 변화의 잠재력 41
Ⅲ. 피셔-리히테 퍼포먼스 연구의 의의 및 가능성
1. 연구의 차별성: 기호학적 프레임을 넘어서 47
1.1 셰크너의 수행성 연구와의 비교 47
1.2. 레만의 포스트드라마 연구와의 비교 53
2. 퍼포먼스 미학에서 수행적인 것의 미학으로 55
2.1. 퍼포먼스라는 하나의 이벤트 65
2.2. 보완적 미학으로서의 가능성 57
2.3. 삶의 미학으로서 수행적인 것의 미학 60
결론 66
참고문헌 69
Abstract 72Maste