| Throughout the nearly 50 years' history of dance art,Kook Soo-ho has repeatedly asked and devoted himself to solving a problem: how to make Korean dance world-wide.In this process,he is bound to face the problem of how to treat and deal with the new / old,traditional / modern,national / world,special / universal,Eastern / Western relations.This is also the common artistic subject faced by Asian artists and the "artistic destiny" they encounter together.Kook Soo-ho not only had a profound personal thinking on the above issues,but also had a lot of successful practices on the world stage.As a case study of Kook Soo-ho,this paper makes a systematic study on Kook Soo-ho from four aspects,namely,the way of dance art,the concept of dance art,the characteristics of dance creation and dance performance,so as to grasp Kook Soo-ho's "personal identity"-"dancing Korean dance to meet people all over the world".This sentence is not only the expression of his personal specific experience and special opportunity,but also can reveal the artistic practice course of Kook Soo-ho in general,shows the overall picture of his artistic thought road,and contains his unique method of creation and performance.Through the grasp of his "personal identity",this paper further reveals the general enlightenment of this typical case.The paper consists of five parts:The first chapter investigates Kook Soo-ho's dance art road from 1948 to now.First of all,it tells about Kook Soo-ho's childhood experience,study and art introduction process(1948-1973),and points out the connection between his later thought formation and dance creation.Secondly,it reveals the course of Kook Soo-ho's art activities and the characteristics of each period.As for his official career,he can be divided into two stages: one is as an actor(dancer)(1973-1985);the other is as an editor(creator)(1983 to present).The creation state is divided into three parts: The first(1983-1990)is characterized by "earth feelings" and pursues folk customs and nativity.The second phase(1991-2000)is characterized by two-way exploration of "historicization" and "globalization".The third phase(2000 to present)is characterized by integration,freedom and nature.The second chapter discusses Kook Soo-ho's concept of dance art and reveals the whole picture of his thought.This picture includes three aspects: one is "rooted in the ground",advocating that dance is a dance rooted in the native land;the second is "spiritual root remodeling",advocating the "historical root seeking" and "creative reconstruction" of the tradition;the third is "encountering the world",advocating to look at the folk dance from a global perspective.His thought broke through the binary opposition structure of the past and the future,the unique and universal,the nation and the world.The third chapter analyzes the characteristics of Kook Soo-ho's dance creation.First of all,this paper points out that there are three axes in Kook Soo-ho's dance creation,that is,folk custom,historicity and cosmopolitanism.Throughout the course of his dance creation,his creation has undergone a transmutation and formed three axes,namely,from the "folk custom" in the 1980s to the "historical" and "cosmopolitan" since the 1990s.In the 1980s,Kook Soo-ho was deeply influenced by agricultural music art and witchcraft culture.His works had strong folk customs and strong "earth feelings".Since the 1990s,its creation has both openness and cohesion,which has been carried out in two directions: on the one hand,it explores the history,explores the dance resources in ancient historical materials,and recreates these materials;on the other hand,it is open to the world to construct a new form of Korean dance in the interaction of national and world perspectives,so as to enhance the international influence and competitiveness of national dance.Secondly,it refines the two tendencies of Kook Soo-ho's dance creation,namely "neutral" and "comprehensive".In his works,we can see that he tried to achieve a kind of "aesthetic eclecticism" between the conflict between Korean culture(Oriental Culture in extension)and Western culture,that is,an experiment of mixing different aesthetic styles with dance language.Kook Soo-ho pursues the comprehensiveness of theater art and insists on integrating Korean culture and even oriental culture into dance art in multiple aspects,which goes beyond the general scope of dance art.Therefore,he can be called "comprehensive stage artist".Finally,the theme of Kook Soo-ho's dance works is summarized,that is,multiple tragedies(life tragedy of primitive community,tragedy of cultural conflict,tragedy of history and human nature)and oriental thought.The fourth chapter summarizes the characteristics of Kook Soo-ho's dance performance.In terms of aesthetic expression,he not only has the beauty of harmony between heaven and man,but also gives people the experience of heart and object interaction in Qin dance.He also has the elegance of Song of Everlasting Regret,the masculinity of Male Dance and the solemnity of Salpri.In addition,he will not limit his performance to a certain form,but will carry out performance innovation in accordance with the world's eyes,and show "Korean nature" in the dialogue with the other according to local conditions.The fifth chapter analyzes Kook Soo-ho's representative work Drum ensemble.Drum ensemble is a comprehensive performance of "integration of multiple drums",including Janggu,big drum,round drum,vertical drum,five sides drum,bangu,Jing drum and hand drum.The combination of various drums,intricate drumbeats,rich and interwoven rhythms,and ingenious integration of drumming and dancing constitute the artistic characteristics of the whole work,that is,the combination of multi-drums dialogue,long and short symphonies and drum encouragement.On the whole,it shows the dance rhyme Symphony under the integration of multi-drums.The sixth chapter,based on the actual development of Chinese dance,this paper useful artistic enlightenment from Kook Soo-ho's dance concept and practice.For Chinese dance,Kook Soo-ho' brings the following three enlightenments.First,maintain the perspective of encountering.That is to insist on the interaction of internal and external perspectives and the integration of past and today's perspectives;Second,Creative pursuit of "root".That is to achieve the basic orientation of dance creation and pursue the unity of "being to the human" and "transitivity";Third,establish the consciousness of "creator".In addition to the consciousness of "free trial",we should also adhere to the simultaneous development of "peak consciousness" and "rooted consciousness" to highlight the "self state" in the multi-cultural combination. |
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