수행적 실천으로서 추상(抽象)의 의미 재고 -1913년도 러시아 미래주의 무대를 중심으로

초록

Kaleidoscopic or Zoetropic experience of modern capital city brought about cognitive dissonance in ones’ body. Ambivalent feelings caused in-between ‘I’ and ‘me’, nostalgic past and liberating but uncertain future, romantic nature and technological advance propagated a radical break with preceding formulae of artistic production. The Russian avant-garde artists ascribed to themselves the role of transforming the uncharted terrain of the future. Transgressing the line between visuality/language, words/sound, art/life, and reality/virtuality, Russian Futurism and Kazimir Malevichs’ Suprematism were driving force behind the rising Constructivist movement. Here, abstraction as cognitive process, systemic procedure, protocols, manifesto, movement etc. was practiced as not only a formative design strategy but indivisible socio-political-ontological apparatus. In this context, abstraction is characterized by action, participation, awakening, contradiction, rifts, deconstruction, non-objectivity and sensationalism. This paper investigates the performative operation of abstraction and its effects on theater making. Focusing on two seminal Russian Futurist productions, <Victory over the Sun> and <Vladimir Mayakovsky; Tragedy> which produced and performed in 1913 will be probed here as performance texts.

키워드