• The Journal of the Korea Contents Association
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• v.15 no.10
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• pp.105-115
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• 2015

The inter-disciplinarity in arts is not confined to recent issues. It has been sought to exceed the boundaries of each genre for the novelty and vision different from before. Among those efforts, this thesis focuses on the collaboration of Merce Cunningham and Robert Rauschenberg who were leading artists in 1960s. Their collaborative works marked with innovative concepts ever in performing arts. They pursued new possibilities in both dance and painting through reformist experiments of chance operation, or improvisational encounters of the unexpected. After the end of their collaboration, they developed their own artistic creations such as Cunningham's shifting from theater to video dance executed in virtual space of computer and Rauschenberg's new "Combines" series. This study examines how the two artists practically embodied the concepts of chance, impermanence and formlessness, centering around their meaningful collaborations from 1954 to 1964.