This paper explores the concept of 'Performing Body on Stage' based on the choreographic work Glory which considers the critical point of view on system and body in relation to Korean sociocultural context. Glory focuses on the physical experience of Korean male dancers, experiencing the military service and dance competitions, questions the system recreated in the body, and asks "is the body free in dance?" To shape this into work, the dancer’s reflective testimonies are used as the materials of choreography, and the conceptualized and contextualized structure is developed into the form of ‘choreographic documentary’. In this paper, I refer Judith Butler’s proposal on ‘vulnerability and resistance’ to construct the frame of this study. I analyze the choreographic approach to the dancer’s body and how a ‘vulnerable body’ can be transformed into a ‘political subject’ through the choreographer’s practice in Glory. When the apparatus which are invisible but attached to the body are visualized on stage, the body exposes the social and political form. In this sense, finding the index of precarity associated with physical vulnerability was not only the process of choreography but also becoming subject in this work. Having physical autonomy in dance is that one actualizes the potential of artistic creation latent in individual diversity, not the military body identity, which moves in an interminable manner with the same identity. This artistic act of the choreographer is political as well as aesthetic in terms of re-asking about the nature of the dance and contemporary arts at the same time.
20세기 후반부터 전개된 컨템퍼러리 댄스에서는 신체를 생각과 감정을 실어 나르는 도구로 고려한 근대적 사유에 저항하며 ‘주체’로서의 신체에 대한 탐색을 시도해왔다. 춤을 통해 정체성을 드러내고 개별성(Singularities)을 획득하기 위한 ‘정치적’ 행위는 컨템퍼러리 댄스의 예술 형식이자 창작의 방식으로 이해되고 있다. 여기서 개별성이란 흔히 모던 댄스에서 무용수의 내적 자아의 표현으로 성취되는 춤의 자율성에 관한 것이 아니라 사회적 장치(apparatus)들이 배치된 신체의 수행을 통해 발견되는 것이다. 본고에서는 제도와 신체의 관계에 대한 비평적 관점을 견지한 안무 작업
Ⅱ. Vulnerabilities of the Body and Choreography as Resistance
Ⅲ. The Choreographic Documentary Glory
1. Apparatus as Control of Body
2. Performative Choreography
Ⅳ. Politics of Precarious Body