ScholarWorks@숙명여자대학교

초록

Recognition Struggle; Artists’ Part was performed at Doosan Art Center Space 111 in 2019 and was composed with the themes, “What acceptance as an artist is”, “What the art is”, and “What an artist is” in the so-called “art world.” Seven disability actors/actresses appeared in the work and played one abstract character of “an artist”. As disability arts have recently attracted attention as a central discourse in the art world in addition to the themes covered by the script, the meanings given to disability artists by the outside, agony on the relationship between identity of disability art and mainstream art, and problems of body representation and objectification of disability on stage etc. were directly or indirectly performed in the play. The stage is a place of customs and rules. One of the best tools is the body of an actor on the stage. The actor’s art to be shown with adjusted expression of a human body reproduces our ideal of the body such as the body portions, well-controlled mobility, and accurate diction to be felt the most beautiful by the people. For these reasons, the body that can stand on the stage has historically always been restricted. However, the work of asking aesthetic and political questions about this idealized body began to appear in the Korean theatrical world since 2000s. We faced on existence of a body stage showing a body cut out due to an accident or disease, a body that moves and reacts in an unfamiliar way due to a brain lesion disorder, a face that shows the characteristics of Down syndrome, and a short actor with hypochondria, etc. which had been deemed as visualization of abnormal and bizarre lesions in the viewpoint of so-called nondisability- centrism. This study reviews these issues focusing on Recognition Struggle; Artists’ Part. By critically examining the contradictoriness of the normativity of the body on stage, the normativity of the profession as an actor, and furthermore, the contradictoriness of our idealistic conception of the body, the meaning of deconstructing nondisability-centrism in art was reviewed.

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