• Trans-
• /
• v.16
• /
• pp.135-162
• /
• 2024

This study examines the concepts and characteristics of Interculturalism and extracts artistic expressions of intercultural characteristics shown in Nouvelle Danse and Non-Danse, which were the birthplace of the contemporary dance flow in Europe. The discussion and composition of these dances will be analyzed from an intercultural perspective by selecting three works by each choreographer representing Nouvelle Danse and Non- Danse. In doing so, we would like to examine what creative acceptance was achieved based on the values and understanding in the clash and encounter between different cultures in art. Dance and interculturalism emphasize exchanges and encounters between one's own culture and other cultures. In addition, it has the potential to contribute to dance studies through the humanistic perspective of dance, as it also contains issues about diversity and identity due to exchange between cultures at the center of globalization. Therefore, the purpose of the study is to read the artistic expressions of choreographers in Nouvelle d'Anse and Non-d'Anse through intercultural understanding with an in-depth understanding and to interpret them by adding multi-layered time to the study.

• Journal of the Korean Society of Costume
• /
• v.60 no.9
• /
• pp.1-15
• /
• 2010

Fashion designer Jean Paul Gaultier incorporated his own boundless and unique artistic Into his design of dance costumes, presenting an unobstructed imaginary world that was filled with freedom, which is no less than one would expect from the one-time enfant t${\'{e}}$rrible of Paris fashion. This creativity of Gaultier was made possible only through the fantastic partnership he formed with the French modern dancer, R${\'{e}}$gine Chopinot. Gaultier and Chopinot shared a deep-rooted sympathy that enabled their own artistic worlds to fully mingle and cross over, resulting in a doubled synergy of their talent and their fame. This study analyzed 11 dancing costumes created through the collaborated efforts of those two enfants t${\'{e}}$rribles, one from the fashion industry and the other from the world of dance. The following are the results of my analysis. Gaultier's dance costumes served as a artistic venue for experimenting with a number of creative inspirations lurking in his mind, which were sometimes expressed in pr${\^{e}}$t-${\`{a}}$-porter collections. Instead of the decorative and expressive features of conventional dance costumes, his was the revival of the dancer's persona as a human being, ablaze with individuality and uniqueness. He pointed out that there is no good in the distorted turturro's fixed point of view, and the great joy of an opposing way of thinking that overturned the established. Leotard material was used as a second skin by transforming it into various styles and delivering his message. In addition, obscene and sexual expressions were delivered in a direct narrative. His eccentric ideas provided entertainment while showing his oppositional way of thinking. In the dance, the effect of the costumes was doubled by the use of cumbersome and exaggerated accessories, which is generally forbidden in modern dance.

• Journal of the Korean Society of Costume
• /
• v.65 no.5
• /
• pp.126-141
• /
• 2015

The purpose of this study is to examine the works of choreographer Philippe $Decoufl{\acute{e}}$ and the performance costumes designer Philippe Guillotel, and identify the intrinsic values shown in the formative characteristics in their works. And it proposes a vision and a direction for the development and performance of modern fashion phenomenon of media convergence performing arts complex. The results were as follows. First, the performance characteristics shown in Philippe $Decoufl{\acute{e}}$'s art pattern applies dynamic improvisation, decategorization reflected in the media interactivity, time and space of a variable scalability, complex artistic genres and transcends cultural boundaries. Second, the characteristics of the performance costume can be described as a co-existence between dynamics of aesthetic layers, 'Media body' represented by the interaction of the compounds with the technology, and integrated variable expandability. And aesthetic values inherent in the performance costumes are summarized as abstraction, playfulness, reproducibility, and theatricality. Modern fashion performance and limited production of the center 'costumes' in the fashion images can be used in diverse ways, and innovative marketing has gone through a change in image production. Metaphysical text of the advanced performance genre can be presented in a new perspective to fashion derivatives 'Media body'. And the aesthetics of popular culture kitsch, the grotesque, and surrealism in theater will produce creative stage direction.