미인:MIIN-BODY TO BODY
아마도 아름다움이란,
그 대상을 바라보는 객체에 의한 정의일지도 모른다.
<미인:MIIN>은 전통과 현대, 남성과 여성, 동양과 서양이라는 프레임으로 규정된 여성성이 아닌 독립적인 주체로서의 여성성을 발견하려는 탐구에서 시작한다. 몸은 해부학적, 문화사회학적 구조물이면서 동시에 무한한 의미를 품고 있는 잠재적 언어저장소로서 여성의 몸을 바라보는 여러 층위의 시각을 만들어 이것들을 재조합하고 다양한 형태로 발현시켜 보며 새로운 미(美)를 탐색하게 될 것이다. 차진엽의 작업은 여성의 몸을 다양한 감각을 통해 공감각적 심상으로 그려낸다. 사운드를 맡은 하임 (haihm)과 심은용은 기존에 선보인 음악세계와 다른, 가장 기본적인 형태의 소리와 움직임에 집중한 사운드를 선보일 예정이다.
<미인:MIIN>은 인공적인 미로 가공되어지는 사회에 대한 비판과 함께 이러한 관점들이 단지 여성에게만 국한된 것이 아닌 모든 생물에 대한 존재론적 가치를 함께 탐구해 보고자 한다.
Maybe beauty is,
defined by the subjects who look at it
MIIN starts from the investigation aiming to discover femininity of women as independent subjects, instead of one defined by the frames of tradition/contemporaneity, male/female and East/West. Body is both an anatomical and socio-cultural construction as well as a potential storehouse of language, which contains infinite number of meanings; the piece will come up with perspectives on female body on different levels and search for a new kind of beauty by reassembling and manifesting them in various forms. Cha Jinyeob's work portrays female body in synesthetic images through different sensations. Also, haihm and Eun-yong Shim, in charge of sound, are going to create a design that focuses on, unlike their previous music, the sound and movements in the most basic form.
Along with a critical view towards the society being covered with artificial beauty due to excessive plastic surgeries, MIIN tries to deconstruct the stereotypical rules about the meaning of being a woman and about female body and beauty.
Fusing precise movements with a captivating soundscape, critically acclaimed choreographer Jinyeob Cha examines how perceptions of beauty and femininity have evolved beyond the imposed definitions of traditional and contemporary, east and west.Cha believes that historical ideologies surrounding the oppression of women and their independence, added with the current focus on women’s body,could be distorting the notion of feminine beauty. By studying the body not only in physical terms but also approaching from psychological angles, Cha rediscovers the body in various forms - feeling, aging,remembering, transforming, andtoring. Such views, not being just limited to women, throw questions on existential values of all living things,expanding their meanings and images.
Of the women, by the women, for the women
The idea of ‘women’ penetrates through Jinyeob Cha’s work. She reinterprets the Greek tragedy The Trojan Women with its stories of women suffering in her work Three Lips (2013); she uses The Red Shoes by Hans Christian Anderson to talk about women’s desire in her work Body Orchestra: Who Stole Her Red Shoes? (2013); she condemns the world’s greed and vanity from women’s perspectives in Rotten Apple (2012–13) and shows her dance dialogue that reflects herself as a woman, a dancer, and a choreographer in Dance, She...Crazy (2014). In her most recent work MIIN: BODY TO BODY (2017) she deals with a range of issues including misogyny and singledom. ‘ I wanted to start from a female body, purely from there. I believe the body is like a circle. My idea became clearer from riverrun (2015). Endlessness without the start or the end, circulation of lives, Saṃsāra (a Buddhist concept that refers to beginningless cycle of repeated birth), the nature of the universe. Circle means endless changes and repeats and it echoes the female body.’
크레딧
안무/연출 차진엽
음악 하임, 심은용
비쥬얼아트 빠키
조명감독 김익현
무대감독 이도엽
영상제작 KUNST
움직임창작 및 출연 곽유하, 김성민, 양한비, 유수경, 이정민, 차진엽
사진 KIMWOLF
그래픽 디자인 신소희
프로듀서 이희진
프로덕션 매니저 김혜연
주최 서울특별시
주관 문화비축기지
후원 한국문화예술위원회, 잉글랜드예술위원회(한-영 문화예술 공동기금 지원사업)
Choreography/Direction Cha Jinyeob
Composer & Sound Design haihm, Shim Eunyong
Visual Art Vakki
Lighting Director Kim Ikhyun
Movement research & CAST
Kwak Youha, Kim Sungmin, Yang Hanbi, Yoo Sukyung, Lee Jungmin Lee, Cha Jinyeob
Stage Manager Lee Doyup
Video KUNST
Photograph KIMWOLF
Graphic Design Shin So-hee
Producer Lee Hee Jin
Production Manager Kim Hye-yeon
Organized by Seoul Metropolitan Government
Managed by Oil Tank Culture Park
Sponsored by Arts Council Korea,
Arts Council England
초연
2017. 10. SPAF 서울국제공연예술제
문화비축기지 탱크 1
Premiere
October 2017 at Tank 1, Oil Tank Culture Park
Seoul Performing Arts Festival
Co-Production (Korea-UK)
초청공연
2022. 6. 영국 런던 더플레이스, '코리안 댄스 페스티벌’
2022. 6. 벨기에 브뤼셀 문화원 초청공연
Invitation Performance
June 2022 at The Place Theatre in London, UK for the Festival of Korean Dance
June 2022 at The Korean Cultural Center in Brussel, Belgium
2017 한국춤평론가회 ‘작품상’ 수상
WINNER ‘BEST PIECE’ at KOREAN DANCE CRITICS’ AWARDS 2017
“페미니즘을 바탕으로 자신만의 세계를 새로운 형태의 움직임으로 꾸준히 선보였다. 문화비축기지라는 새로운 공연장을 발굴해 춤 공연을 처음으로 시도함으로써 주위환경을 십분 활용한 창의성과 작품성의 완성도를 보였다.”
"Rooted in feminism, she consistently portrayed her unique world through innovative movements. By discovering a novel performance venue known as the Cultural Reserve Base and exploring dance performances for the first time, she exhibited a high level of creativity and artistic completeness, effectively leveraging the surrounding environment."
‘ Those women, each enduring in ladylike discreet poses or readily showing an aggressive pose may look like existing in two extremes.
This piece tells us that, in fact, both of them are fruits of the exactly same yoke that has effectively governed women for a long time.’
Quote credit tbc
맨살을 드러내는 느낌으로 차려 입은 여자들의 모습과 바닥 조명 이미지, 그리고 계속 우웅 대는 금속성 음향과 여기에 합세하는 거문고의 퉁퉁 뜯겨지는 저음에서 BODY TO BODY의 센슈얼한 감각이 두드러진다.
- 춤비평가 이만주
‘The sensuousness of MIIN: BODY TO BODY is highlighted by the women dressed to look as if they’re baring skin, the images projected onto the floor through lighting design, and the continuous metallic drone added to the low tune of the geomungo being plucked.’
- Lee Man-ju, dance critic