뮤지컬 「닥터 지바고」 공연예술의상 제작에 관한 연구
- Issued Date
- 21세기에 들어서면서 문화 콘텐츠 산업이 발달하고 공연예술문화의 세계화가 이루어지면서 문화수준이 향상되었다. 문화 콘텐츠 사업에서 가장 선두적인 역할을 담당하고 있는 분야가 바로 공연사업인데, 공연사업은 공연 콘텐츠의 기획, 제작, 유통, 공연과 관련된 공연 콘텐츠의 모든 산업을 통틀어 말하는 것으로, 공연예술에 수익성과 효율성 등 산업의 개념을 도입한 것이다. 최근 들어 몇 년간 우리나라 공연예술문화 분야에서 뮤지컬의 비중은 과거와 현격히 차이가 날 정도로 예전에 비해 훨씬 높아졌고 각광을 받고 있는데, 뮤지컬은 현대인의 문화적 욕구를 가장 적절히 반영하고 있는 예술형태로서 감성을 자극하는 판타지적 스토리, 화려한 율동감과 무대장치, 빠르게 감응되는 음악이 조화되어 있는 공연예술로서 대중성과 오락성을 갖춘 종합적 예술이라고 할 수 있다.
뮤지컬에 큰 비중을 차지하는 공연예술의상은 작품이 표현하고자 하는 메시지를 시각적으로 지각하도록 형상화하는 무대예술이다. 또한 공연을 관람하는 관객들은 배우의 공연예술의상을 통해 극의 시대와 인물의 성격과 사회적 지위, 역할 등을 깨닫게 되는 것이다.
뮤지컬 「닥터 지바고」는 2005년 미국에서의 시험 공연을 시작으로 2011년 호주에서 초연되었고, 2012년 한국에서도 공연되었다. 현재까지 공연되어진 뮤지컬 「닥터 지바고」의 의상은 단조롭고 모호할 뿐, 2013년 영국 런던과 2014년 미국 뉴욕에서 예정된 공연의 의상에는 아직 체계화 되어있는 새로운 연구가 없는 실정이다.
그러므로 본 연구에서는 뮤지컬과 공연예술의상의 개념정리 및 이론적 배경을 통해 공연예술의상의 특성을 분석하고, 뮤지컬 「닥터 지바고」의 시대적 배경인 1900년대의 이미지를 찾아내어 현대적 트렌드와 결합해서 현대인의 감성 코드를 표현 할 수 있는 의상으로 디자인을 제시하였다. 더불어 극에서의 인물의 사고와 행동, 즉 인물의 성격을 반영한 디자인의 개발방안을 모색하여 극대본과 음악에 조화를 이룰 수 있는 디자인을 제안하는데 목적을 둔다.
연구 방법으로는 뮤지컬과 공연예술의상의 개념과 구성요소 및 역사와 같은 이론적 배경을 국내외 도서자료와 선행 연구논문을 통해 조사하였고,「닥터 지바고」의 작품분석은 2011~2012년 국내외에서 공연된 뮤지컬 「닥터 지바고」를 중심으로 각종 문헌자료 및 보도자료, 시각화 자료, 웹 사이트 자료 등을 활용하였다. 디자인의 기초가 되는 현대 패션트렌드와 20세기 초기의 복식은 문헌자료와 신문 보도자료를 중심으로 수집하였다.
각 등장인물의 공연예술의상 디자인의 특징은 다음과 같다.
첫째, 지바고의 의상은 2012F/W의 트렌드 색상과, 딱 떨어지는 스트레이트 라인으로 지식인의 세련됨을 풀어내었다. 의사라는 직업과 사랑에 우유부단한 남자임을 나타낼 수 있는 울트라 마린색과 웜 그레이, 차콜 그레이색이 각각의 직업과 성격을 나타내었고, 먼 관객석에서도 또렷이 알아볼 수 있는 오버스러운 실루엣의 코트, 가슴부분의 회색 십자가 모양 포인트, 의료진의 깔끔함을 느끼게 해주는 심플하고 베이직한 화이트 셔츠, 지식인의 지혜로움을 나타내기 위해서 허리선에 라인이 들어간 클래식한 디자인의 울 베스트와 스트레이트 실루엣의 팬츠를 함께 구성하였다.
둘째, 라라의 의상은 팜므파탈의 섹시함과 내면의 어두움을 나타내는 데에 중점을 두고 디자인 하였다. 라라의 신비스럽고 치명적인 매력은 블루 바이올렛의 밀리터리룩의 코트로, 과거의 상처는 망간 바이올렛과 비규칙적인 무늬를 사용한 A라인의 플레어 스커트 투톤 원피스로 극의 시대적 복식과 현재의 트렌드를 적절히 매치시켰다.
셋째, 파샤의 의상은 냉정하고 남성스러운 성격을 잘 표현할 수 있는 강하고 견고해 보이는 느낌의 블랙 레더와 같은 색의 여러 가지 소재들을 사용하여 패딩, 셔츠, 베스트, 팬츠를 구성하였다. 패딩과 팬츠의 원단을 그대로 사용하여 통일성을 보여주었으며, 파격적인 성격을 표현하기위해 패딩의 옆라인 부분에 스트랩을 달고 팬츠의 앞뒤판에 조각의 패치워크로 디자인 하였다.
넷째, 토냐는 밝고 사랑스러운 부잣집의 고명딸로 세련되고 여성스러운 패션스타일을 보여준다. 그녀의 의상은 2012F/W 트렌드 색상 중에서 가장 화려한 색인 마젠타색의 고급스러운 울 캐시미어와 퍼를 사용하여 이번 시즌 런웨이에서 쉽게 찾아볼 수 있는 호리병라인 스타일의 페미닌한 코트와 케이프를 만들었으며, 가정주부라는 캐릭터에 맞춰 포근하고 따뜻한 울소재의 캐시미어 스커트와 하얀 쉬폰으로 칼라와 소매가 마무리 된 맥시원피스를 함께 디자인하고 코디하였다.
본 논문에서는 뮤지컬의 개념과 닥터지바고의 작품분석의 특징 등에 관한 이론적 고찰을 비롯하여 닥터지바고의 공연예술의상 분석 과정에서 도출된 주요 컨셉을 바탕으로 한 체계적인 공연예술 의상디자인 작품제작의 전개과정을 살펴보았다. 그러므로 뮤지컬 공연예술 의상디자인은 극의 분위기를 좌우할 뿐 아니라 배우들과 관람자들에게도 너무나도 중요한 표현도구로서 공연예술의 요소에서 큰 부분을 차지한다는 것을 알 수 있었다.
현대 사회에서 문화산업이 발전함에 따라 뮤지컬 공연예술의상의 위상은 독립된 하나의 예술작품으로 인정되고 있다. 이러한 때에 뮤지컬 공연예술의상 제작에 관한 연구를 하므로서 외국의 오리지널 작품에 의존하고 있는 국내 현실을 파악하고 새로운 뮤지컬 공연예술의상 디자인을 개발하는데 일조하길 기대한다.
As culture content industry advances and performance art culture become globalized in the 21st century, overall culture level of general public has been enhanced. Performance business, which takes the leading role in culture content industry, means all performance content works related to planning, production, distribution and presentation of performance content. In other words, performance business is performance art combined with industry concept such as profitability and efficiency. In recent few years, the weight of musical in Korean performance art industry has rapidly increased and musical is getting special attention. Musical is a form of art that reflects the cultural desire of modern people in most proper manner. Musical can be said a form of comprehensive art having both entertainment nature and popular nature because it has fantasy-like story stimulating the sensitivity of audience, luxurious movements, splendid stage art and fast-responding music in harmony.
Performance art costume takes a big weight in musical performance. Performance art costume is a stage art that embodies the message of production so that audience perceives it visually. Audience also learns the temporal background of drama, the personality, social status and role of each character.
Musical was on the stage for the first time in United States in 2005 as a test performance. In 2011, was formally performed in Australia for the first time. It was also performed in Korea in 2012. The costumes worn by the characters of musical till now were relatively monotonous and ambiguous. There are plans for more performances of musical in London (2013) and New York (2014); however, there is no organized study on the stage costume for the planned performances in London and New York.
Accordingly, this study analyzed the performance art costume by reviewing the concepts on musical and performance art costume and suggested the costume design for musical that can express the sensitivity code of modern people by combining the modern trend and the fashion image of 1900s, which is the temporal background of musical . In addition, this study has its purpose on finding a design development plan reflecting the thought, action and personality of characters and suggesting costume design that can be in harmony with drama script and music.
Regarding the study method, the theoretical background such as the concept, components and history of musical and performance art costume was investigated in previous study literature and published information at home and abroad. For the performance analysis of musical , various literature, media articles, image/video information and website information on musical performed at home and abroad from 2011 to 2012 were sought and utilized. The modern fashion trend and the fashion during early 20th century were collected from existing literature and media articles and they became the bases of costume design for in this study.
The characteristics of performance art costume design for each character in musical are as following.
First is the costume of Dr. Zhivago. Dr. Zhivago costume is designed to be in the trend colors of 2012 fall/winter. His costume expresses his refinement as an intellect by way of exact straight line design. Colors like ultra-marine, warm grey and charcoal grey tell each occupation and personality of him. The coat has a bit excessive silhouette so that it can be clearly seen by audience at distant seat. There is a grey cross point on the breast. The simple and basic white shirt tells the cleanness of medical staff. The wool vest has the classic design with line on the waist-line to express the wisdom of intellect and it is matched with pants with straight silhouette.
Second is the costume ofLara. The costume of Lara focused on expressing the sexiness of femme fatale and the dark inside of Lara. Lara's military-look coat in blue violet tells the mysterious and fatal attraction of her; while her wound from the past is told by a two-toneone-piece dress with A-line flair skirt with irregular pattern in manganese violet color. The costume of Lara has exact match of modern trend and the fashion of drama's temporal background.
Third is the costume of Pasha. His costume design expresses his cool and masculine character by using colors like black leather which gives strong and solid feeling. The padding, shirt, vest and pants are designed in various materials. The padding and pants used the fabric in its original form so that uniformity would be achieved. In order to tell the unconventional personality of Pasha, the padding has straps at the side lines and the front/rear sides of the pants are designed as patchwork.
Fourth is Tonya. Tonya is a bright and lovely woman who is the only daughter without son in a rich family. The costume of Tonya reflects her refined and feminine fashion style. The design used high quality wool cashmere and fur in magenta, which is the most luxurious color among the trend colors in 2012 fall/winter. Tonya puts on a feminine-look gourd-shaped coat and a cape, which are easily found in the runway of this season. Since Tonya is a housewife, her costume is coordinated by a cashmere skirt made of warm wool and maxi one-piece dress finished with chiffon collar and sleeve.
This study reviewed the concept of musical and the characteristics of production analysis on musical . The study also explored the development process of organized performance art costume design based on the major concepts drawn during the analysis of performance art costume for musical . During the study, it was possible to know that the performance art costume design of musical production has big impact on the atmosphere of drama and it is very important expressing tool of actor, actress and even to audience.
The performance art costume in modern musical performance is acknowledged as an independent artwork. Considering that most domestic musical performances are relying on original foreign production, it is expected that this study on the musical performance art costume would contribute in the development and provision of idea to the performance art costume design of new future musical performances.
- Alternative Title
- Study on Performance Art Costume Production of Musical
- Alternative Author(s)
- Kim, Gyu Ri
- 조선대학교 디자인대학원
- 디자인대학원 패션디자인학전공
- Awarded Date
- 2013. 2
- Table Of Contents
- 국문초록························································ Ⅷ
Ⅰ. 서론························································· 1
1. 연구목적····················································· 1
2. 연구 방법 및 범위·········································· 2
Ⅱ. 이론적 배경·············································· 4
1. 뮤지컬과 공연예술의상····································· 4
1) 뮤지컬의 개념 및 구성요소································· 4
(1) 뮤지컬의 개념과 종류······································· 4
(2) 뮤지컬의 구성요소·········································· 9
2) 뮤지컬의 역사·············································· 19
(1) 외국 뮤지컬 역사·········································· 19
(2) 국내 뮤지컬 역사 ·········································· 21
3) 공연예술의상의 정의 및 요소······························ 23
(1) 공연예술의상의 정의······································· 23
(2) 공연예술의상의 요소······································· 24
(3) 공연예술의상의 작업과정····································29
2. 「닥터 지바고」 작품분석 ································ 31
1) 보리스 파스테르나크의 작가분석·························· 31
(1) 보리스 파스테르나크의 생애································ 31
(2) 보리스 파스테르나크의 작품세계···························· 33
2) 「닥터 지바고」 원작 분석································ 37
(1) 「닥터 지바고」 줄거리···································· 37
(2) 「닥터 지바고」 주요 등장인물의 성격분석·················· 39
3) 「닥터 지바고」 작품분석································· 40
(1) 뮤지컬···················································· 40
(2) 영화······················································ 46
(3) TV························································ 48
Ⅲ. 「닥터 지바고」 의상 분석························ 49
1. 뮤지컬 의상 분석 ·········································· 49
2. 영화 의상 분석············································· 53
3. TV 의상 분석 ··············································· 61
4. 20세기 초(제1차 세계대전 전·후) 복식·················· 66
1) 벨 에포크 시대의 복식(1907~1914)························ 66
2) 제2차 세계대전 전·후의 복식(1914~1930)················ 69
3) 1930년대의 복식(1931~1940)······························ 71
5. 2012 F/W 패션트렌드 분석································ 72
1) 스타일 ···················································· 74
2) 컬러······················································· 75
3) 소재 ······················································ 76
Ⅳ. 뮤지컬 「닥터 지바고」 공연예술의상
디자인 및 작품제작·································· 78
1. 작품제작 의도 및 방법···································· 78
2. 작품 및 해설··············································· 81
1) '유리 지바고' 의상 디자인······························ 81
2) '라라' 의상 디자인······································ 88
3) '파샤' 의상 디자인······································ 93
4) '토냐' 의상 디자인 ···································· 100
Ⅴ. 결론······················································· 106
Abstract ·························································· 112
- 조선대학교 디자인대학원
- 김규리. (2012). 뮤지컬 「닥터 지바고」 공연예술의상 제작에 관한 연구
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- Art, Design & Physical Education > Theses(Master)(디자인대학원)
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