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I. 서론 8
1. 연구목적 및 필요성 8
2. 연구방법 9
II. 이론적 배경 11
1. 종교와 이미지 11
1) 이미지의 개념 11
2) 종교적 상징과 이미지의 기능 14
2. 현대무용작품의 종교적 양상 17
III. 앨빈 에일리 작품 세계 24
1. 창작활동 24
1) 무용활동 24
2) 주요작품 37
2. 춤의 정신 44
1) 네그리튀드 (Negritude) 44
2) 흑인의 영성 (Spirituality) 48
IV. 「Revelations」작품의 종교적 이미지 54
1. 영가와 리듬 56
2. 연극적 상상력 59
(1) 순례자의 슬픔(Pilgrim of sorrow) 60
(2) 호수로 나를 데려가 다오(Take me to the water) 62
(3) 움직여라, 군중이여, 움직여라(Move, Member, Move) 64
3. 흑인특유의 움직임 65
4. 축제성 66
V. 결론 68
참고문헌 71
ABSTRACT 74
〔그림1〕 Revelations(Pilgrim of sorrow) 61
〔그림2〕 Revelations(Take me to the water) 63
초록보기 더보기
Many choreographers have employed religious themes to invent dances. Currently, a number of Korean Christian choreographers is reviving biblical stories on stages in a bid to present religious images in their works. Considering that life is highly valued among Christian choreographers, their lives are likely to be reflected in their works.
Alvin Ailey, an American modern choreographer, are well known for expanding limited choreographic styles and for creating various repertories. His great works mainly came from his African culture. Alvin Ailey valued traditional African culture such as traditional ritual and music with African roots, resulting in reproducing them in his great works. He wanted to show people, both black and white, how beautiful -- and how open -- [black dancers] could be. He soaked up knowledge and inspiration from the culture that produced him, and produced leaves in the form of dances
Black people who were discriminated by society could be equally treated before God. This work shows a people whose status changes from slaves into confident individuals.
The second part, 'Take me to the Water', shows people being baptized nearby lake outside of church. The last part, 'Move Members Move', ends with the scene that black women holding their fans and hats in all their summer glory are joyfully attending service on Sunday morning.
One of the main features in Alvin Ailey's work is spirituals, religious and confessional songs of the type originally sung by black slaves in America. Another feature is it gives the audience a chance of having a new experience through theatrical imaginations. Lastly, Alvin Ailey converted q serious mood into a celebratory one.
Choreographers who are Christians should change the way they express. They tend to just revive biblical stories or give the audience lessons from Bible with a hymn.
I expect that various themes will be introduced to the audience on stages as I mentioned in the thesis. I also hope that choreographers who are Christians will be taking a step in to make more of dances including the artistic spirituality of Christianity than dances inclining toward just one single theme.
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