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학제간연구 과학기술학 뇌인지과학 기술정책 기타 복합학

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논문 기본 정보

자료유형
학술저널
저자정보
저널정보
한국체육철학회 움직임의 철학: 한국체육철학회지 움직임의철학: 한국체육철학회지 제7권 제2호
발행연도
1999.12
수록면
231 - 254 (24page)

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Just as Freud said "the care purpose of psychoanalysis is to establish a scientific psychology and literature and furthermore, contribute to the overall human life", his psychoanalysis is acknowledge today not just as simple therapy of psychology or neurosis but as test of art and philosophy. With such a background in mind, this study aimed to analyze the relationship between dance and psychology on the assumption that dance represents a social behavior expressing "cultural layers and their strength", and thereby, review the mutual relationship between effect of psychology on ballet works and dancing psychology. To this end, the approach used by Sigmund Freud who has been appreciated as master psychologist were reviewed together with the general theories of dancing psychology. In other words, Freud`s psychological concepts were reviewed to establish some basic concepts for this study. The psychological effects found in any ballet work may not be intended to impose some message an the audience but be designed to make the work perceived in a natural way, enhancing its quality and artistic sense. In a nut-shell, psychology influences ballet works much and choreography as well. In our modern society sing the intellectual aspects too much, the psychological ballet drama may give us opportunities to experience such aspects neglected relatively as creativity, spontaneousness, humor, self-consciousness, dance, physical movement, physical contact, fantasy, music, non-linguistic dialogue, etc. With such a psychological ballet drama, the world of mood, sense, imagination and experiment will be integrated into au being. Moreover, the psychological ballet drama may serve to invoke our potential. Namely, an aspect of ourselves will be featured unnoticeably through the psychological ballet drama. Through such a ballet work, we will be able to see an unknown aspect of ourselves or behave in an unfamiliar or quite strange way. With such a ballet, we can find humor, spontaneousness or other aspects of ourselves inherent in ourselves. Such an awakening must be the most outstanding effect of psychological ballet drama. Thus, the ultimate goal of this study lies in exploring the adaptability of Freudian dance psychology. In this study, Antony Tudor`s "Lilac Garden" was sampled to analyze the psychology of ballet drama, because the work was believed to be most suitable for such a kind of ballet psychoanalysis. Above all. the work is very unique, although it features a very vulgar popularity. Such a dual characteristic may hint a possibility that the superficial implication of a ballet work may differ from its underlying ones. Second, the work seemed to be suitable for this psychoanalysis of dance because it have some symbolic codes hidden. Third its contents may be a good teat which can be used as a scale to review the functions and characteristics of dancing psychology at this juncture of time and in our society. When the elements of a psychological ballet drama can be analyzed, the work will be more valuable. Assuming that dance and psychological drama can be combined to be closely related with each other, it must be necessary to study the relationship between a ballet work and its psychology. Unfortunately, the reality is that psychological studies of dance give way to its intellectual ones. Thus, it is hoped that psychological studies of dance would be supported by our society and education system and that this study would be followed up much by in-depth psychological dance studies. It will be more meaningful to review the relationship between text of a psychological ballet drama and its audience not simply in individual terms but in the context of environment, society and culture. The culture created by our common efforts, and those things deemed natural therein are always featured as parts of our every day life. However, a ruling ideology based on the power mechanism underlies such seemingly ordinary, reas

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