This study aims to present a methodology for understanding dance. Dance based on body and behavior has been discussed as an ambiguous art that is difficult to define clearly. Because dance is an art mediums that consists of the body and behavior in wh... This study aims to present a methodology for understanding dance. Dance based on body and behavior has been discussed as an ambiguous art that is difficult to define clearly. Because dance is an art mediums that consists of the body and behavior in which contains emotions. Nevertheless, we have been continuing academic studies that can understand dancing continuously. Here, we propose a research methodology that can be viewed as a changeable 'event' composed of dance process. These studies provide the basis for understanding performance based on the characteristics of the body. Performativity is a fundamental concept that allows physical behavior to mediate and constitute 'events'. The function of performtivity does not suggest the 'reading' of the text reproduced through the symbolic body. It suggests the possibility of 'viewing' of the phenomenal body and the behavior itself. And the spectator is perceived to be embodied ‘physicality’ revealed in the tension between the phenomenal body and the symbolic body. This perception of physicality changes overall performance. The embodied physicality constitutes a new spatiality, and a new atmosphere is formed. The spectator sensually senses the energy and atmosphere of the performer and other spectator in the space. The spectator's response and actions create a constantly changing atmosphere during the performance process. The spectator participates in performances themselves, not as prisoners, but as circumstances, situations can suddenly occur. The audience is not an audience, but as a performer, they can participate in performance, and many situations can occur unexpectedly. The audience participates in performances themselves, not as object but as a subject. And various situations can happen suddenly. Therefore, performance is not a defined work but a temporary and unstable ‘events’. The function of performance is based on intermediality. Intermediality implies changes that occur in 'behaviors that are weakened and cross boundaries'. This study applies the following discussions of intermediality focusing on the change of relationship of media as object to the relationship between the media of the body, and especially the relationship between body, sound and space in performance. The changes and interactions that take place between the performers and the phenomenal bodies of the spectators constitute a new physicality, soundness, spatiality, and temporality. The audience perceives these materiality in a sensuous way. Intermediality is the effect of meaning and perception made by spectators, and the result of sensory activity that occurs between various media interactions. By deactivating the boundary between the performer and the spectator and opening the space between them, it provides a place for the performativity to operate. Therefore, it would be a concrete way to better understand the performance of the various factors that occur within the interaction between the performers and the spectator’s body. Finally, these discussions are analyzed specifically through dancetheater. It intentionaly deactivate the link of movements by overcoming the boundaries of the body and introducing everyday motion. I think that dancetheater, which moves beyond the boundaries, is most suitable for analyzing this performance research methods. Thus, in some cases, the points where performativity and intermediality work concretely are discussed. And it analyzes how the perception of the audience changes and how the process of semantic composition can be formed. When a spectator perceives the phenomenal body of an performer, a new physicality is formed. The perception of the physicality also affects the body of the spectator. The sound of everyday life, the sound of the body, the breathing, the noise are not the interrupt to performance but constitute the soundness of the performance. And it affects the formation of the physicality. The composed physicality and soundness change the spatiality, the atmosphere, of the whole performance. The spectoator perceives and responds to this atmosphere, and constantly makes the performance a process of change. Now the spectator is not the object but the subject that makes up the performance. This is the performance as a performative 'event'. The audience does not need to read the text in a ttemporary, changing, and fluid performance. In the process of the performance, they can see what they see themselves, respond, and establish a continuous relationship to construct the meaning of performance. Interpretation is the responsibility of the participants after the end of the performance. There is no fixed meaning in a constantly changing performance. All participant perceives the atmosphere that is formed during the performance process, and constructs meaning based on it. These discussions suggest the possibility of free performance interpretation based on their own experience and sensory perception, beyond the interpretation of traditional perspectives. ，韩语毕业论文，韩语论文 |
