ScholarWorks@숙명여자대학교

초록

This study conducts a semiotic examination on Taryeonggwajang of Jeong Jaeman's Seungmu. As a research method, I used Saussure's binary opposition, Greimas' meaning generation model, actor model, and semiotic square. I suggests that the elements of binary opposition are not complete oppositions but are mutually complementary. Seungmu repeatedly uses the actor model in the succession process. In that, the narrative nature of Seungmu is completed. By applying the internal binary opposition elements to the semiotic square, I could expand the scope to the existence of 'non-yin' and 'non-yang' rather than just 'yin' and 'yang'. In the movement analysis, I illuminate that there is no repetition where the beat and movement match, and in the case of the same movement, the movement changes to the left and right direction and the speed of the movement gradually increase. In this way, the analysis of the various meanings and dance movements inherent in Taryeonggwajang could be another interpretive study.

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