학술논문
발레리나의 정서표현성 형성과정 및 구성요소에 관한 근거이론연구 / Grounded Theory Study on the Formation Process and Components of Ballerinas’ Emotional Expressiveness
Document Type
Dissertation/ Thesis
Author
Source
Subject
Language
Korean
Abstract
본 연구는 근거이론 방법을 활용하여 발레리나의 정서표현성 형성과정과 구성요소를 제시함으로써 발레리나의 경험의 의미를 이론화하는데 목적을 둔다. 이에 따라 정서표현에 능숙한 발레리나를 대상으로 어린 시절부터 현재까지의 정서표현성을 형성시켜온 과정 분석을 통하여 정서표현역량 향상을 위한 실천적 근거를 제시하고자 하였으며, 전문발레교육 현장에서 신체기술 뿐 아니라 정서표현을 위한 교육의 필요성 인식과 함께 발레의 기술성과 예술성의 균형적 향상을 위한 교육적 단초를 제공할 수 있음이 사료된다. 이러한 연구목적에 따라 질적연구방법 중 Strauss와 Corbin(1998)의 근거이론방법을 활용하여 자료를 수집하고 분석하였다. 연구참여자는 직업발레단의 주역무용수 경험이 있는 발레리나로 제한하였으며, 세평적 사례 선정(Reputational Case Selection)방법을 통해 최종 10인으로 선정하였다. 자료수집은 심층면담을 시행하였으며, 수집된 자료는 개방코딩, 축코딩, 선택코딩 과정에 따라 분석하였다. 세 단계의 코딩분석에 따라 도출된 본 연구의 결과는 다음과 같다. 첫째, 발레리나의 정서표현성 형성에 관한 범주는 개방코딩을 통해 원자료를 줄 단위로 분석하여 총 156개의 개념과 31개의 하위범주, 9개의 범주를 도출하였다. 둘째, 발레리나의 정서표현성 형성과정은 Strauss & Corbin의 축코딩 패러다임 범주 분석과 과정 분석을 통해 도출하였다. 먼저 패러다임 모형에 따라 9개의 범주를 중심으로 범주들의 관계를 분석하였다. 발레리나의 정서표현성 형성의 중심현상은 ‘작품 의미 표현’으로 나타났다. 이러한 현상의 원인이 된 인과적 조건은 ‘표현 동기 형성’으로 나타났으며, 맥락적 조건은 ‘발레의 정형화’로 나타났다. 발레리나는 작품 의미 표현을 위해 ‘기술적 능력’, ‘정서적 능력’, ‘정의적 능력’ 이라는 작용/상호작용 전략을 사용하였으며, 이를 강화하는 중재적 조건은 ‘환경적 도움’, ‘사회적 인식’으로 나타났다. 이에 따른 발레리나의 정서표현성 형성의 결과는 ‘자기표현’으로 나타났다. 또한 과정 분석을 통해 발레리나의 정서표현성 형성과정은 시간과 공간의 흐름에 따라 ‘작품 의미 표현’의 중심현상 발현 후 ‘자기표현’에 이르는 단계를 인식, 통합·실행, 조절 단계로 구분하여 제시하였다. 인식단계는 작품의 의미를 전달하기 위해 타인의 정서를 인식하는 단계, 통합·실행단계는 정서를 인식한 후 자기 표현을 위하여 정서와 사고를 통합하고 동작에 의미를 부여하여 자신이 이해한 정서를 표현하는 단계, 조절단계는 자신이 이해한 정서를 관객이 원하는 정서로 조절하는 단계이다. 이 과정은 일련의 순차적인 특징을 가지고 있으나 반복적인 순환과정을 통해 자기표현이 형성되는 것으로 도출하였다. 셋째, 발레리나의 정서표현 구성요소는 선택코딩을 통해 도출하였다. 핵심범주는 ‘의미전달을 위한 자기표현 형성 능력’이었으며, 핵심범주를 중심으로 범주를 통합하여 정서표현성 형성에 영향을 주는 구성요소를 도출하였다. 이는 표현 기술, 표현 지식, 표현 태도로 구성되며, 각 하위 요소는 기술적 테크닉, 표현적 테크닉, 정서인식(타인정서인식, 사고력), 정서조절(정서활용, 동작조절), 개인적 태도(집중, 끈기, 자신감, 주체성), 사회적 태도(교감, 배려, 개방성)로 구분하였다. 그 결과 각각의 능력은 서로 균형을 이루어 통합적으로 함양될 때 독자적인 자기표현을 형성하는 것으로 확인되었다. 또한 상황모형을 통해 발레리나의 의미전달을 위한 자기표현 형성 능력에 영향을 미치는 인과적, 맥락적, 중재적 조건들의 상호작용 결과는 개인적 차원, 조직적 차원, 사회적 차원으로 구분하여 제시하였다. 개인적 차원은 교육환경과 정서경험과의 상호작용을 바탕으로 표현할 정서에 대한 내면적 인식과 조절을 위한 개인적 노력을 의미하며, 조직적 차원은 안무가, 주변 무용수, 지도자와의 상호작용을 바탕으로 작품의 의미를 극대화하기 위해 습득하는 지식과 경험을 의미한다. 사회적 차원은 작품의 의미 표현을 위한 관객과의 사회적 소통을 의미하는 것으로 발레리나 개인의 정서표현은 미시적, 거시적 상황 조건의 상호작용에 따라 형성되는 것으로 도출하였다. 이상의 결과는 발레의 기술성과 예술성의 균형적 향상을 위한 기술, 지식, 태도의 통합적 교육 실행의 기틀 마련에 초석이 될 것으로 사료된다. 본 연구의 결과를 바탕으로 발레리나의 정서표현성 형성과정과 구성요소에 근거하여 정서표현역량 향상의 실질적 실천을 위하여는 구체적인 교육프로그램 개발이 필요하다. 또한 발레리나의 정서표현성 형성은 지도자와의 상호작용이 중요한 요인으로 도출된바 정서표현에 관한 기술, 지식, 태도적 역량이 겸비된 지도자 양성 교육이 실질적으로 이루어져야 할 필요가 있다.
The purpose of this study was to theorize the meaning of a ballerina’s experience by presenting the process and components of emotional expressiveness formation using the grounded theory method. Accordingly, this study was to present a practical basis for improving emotional expression competency by analyzing the process of forming emotional expression from childhood to the present for ballerinas who express emotions proficiently. Findings of this study can provide a foundation for balanced improvement in ballet technicality and artistry, along with recognition of the need for instruction regarding emotional expression and body techniques in the field of professional ballet education. For this purpose, data were collected and analyzed using the grounded theory method (Strauss and Corbin, 1998), a qualitative research method. The study participants were ballerinas who had lead dancer experience in a professional ballet company. Ten finalists were selected via the reputational case selection method. In-depth interviews were conducted for data collection, and the collected data were analyzed with open, axial, and selective coding. The results of this study were derived according to a three-step coding analysis, as follows. First, regarding the formation of ballerinas’ emotional expressiveness, 160 concepts, 31 subcategories, and 9 categories were derived by analyzing the raw data line-by-line through open coding. Second, the process by which a ballerina’s emotional expressiveness is formed was obtained using Strauss and Corbin’s axis coding paradigm category analysis and a process analysis. According to the paradigm model, the relationship between categories was analyzed by focusing on the abovementioned 9 categories. The central phenomenon of the formation of emotional expressiveness among ballerinas was the “expression of the meaning of work.” The causal condition that caused this phenomenon was the “formation of expression motivation,” and the contextual condition was the “formation of ballet.” The ballerinas in the study sample used action/interaction strategies such as “technical ability,” “emotional ability,” and “affective ability” to express the meaning of a work. Mediating and reinforcing conditions were “environmental help” and “social perception.” The result of emotional expressiveness formation was ‘self-expression.” The formation process was analyzed and presented by dividing the stages for reaching self-expression from the manifestation of the central phenomenon into recognition, integration/execution, and adjustment, according to the flow of time and space. In the recognition stage, the emotions of others are recognized in order to convey the meaning of the work. In the integration/execution stage, emotions and thoughts are integrated for self-expression after recognizing the emotions, which are expressed by giving meaning to the movements. In the adjustment stage, the emotions understood by the ballerina are adjusted to the emotions desired by the audience. Although this process has a series of sequential characteristics, self-expression is formed through a repetitive cycle. Third, the components of ballerinas’ emotional expressiveness were derived through selective coding. The core category was the “ability to form self-expression to convey meaning.” By integrating the categories according to this core category, the components affecting the formation of emotional expression were identified. These include expressive skills, knowledge, and attitude. The classifications for sub-elements were technical technique, expressive technique, emotional recognition (i.e., the recognition of others’ emotions and thinking ability), emotional adjustment (i.e., the utilization of emotions and movement control), personal attitude (i.e., concentration, persistence, confidence, and subjectivity), and social attitude (i.e., sympathy, consideration, and openness). Each ability leads to independent self-expression in an integrated way by achieving a balance with each other. The interaction results of the causal, contextual, and mediating conditions affecting self-expression formation ability for meaning delivery by the ballerina were divided into individual, organizational, and social dimensions through the situational model. The individual dimension refers to one’s personal effort to achieve inner awareness and control of the emotion to be expressed based on the interaction between the educational environment and the emotional experience. The organizational dimension refers to the knowledge and experience acquired to maximize the meaning of the work based on interactions with the choreographer, the surrounding dancers, and the instructor. The social dimension refers to social communication with the audience to express the meaning of the work. It was determined that emotional expressions of individual ballerinas are formed through interactions of micro and macro situational conditions. The above results form a cornerstone of the foundation for the implementation of an integrated education focused on the skills, knowledge, and attitudes necessary for a balanced improvement in ballet techniques and artistry. Based on the results of this study, a specific educational program is needed for practically improving the ability of ballerinas to express emotions based on the underlying formation process and components. Additionally, for the formation of ballerinas’ emotional expressiveness, interactions with the instructor is an important factor. Accordingly, there is a need for practical education to cultivate instructor with the necessary skills, knowledge, and attitudes related to emotional expressions.
The purpose of this study was to theorize the meaning of a ballerina’s experience by presenting the process and components of emotional expressiveness formation using the grounded theory method. Accordingly, this study was to present a practical basis for improving emotional expression competency by analyzing the process of forming emotional expression from childhood to the present for ballerinas who express emotions proficiently. Findings of this study can provide a foundation for balanced improvement in ballet technicality and artistry, along with recognition of the need for instruction regarding emotional expression and body techniques in the field of professional ballet education. For this purpose, data were collected and analyzed using the grounded theory method (Strauss and Corbin, 1998), a qualitative research method. The study participants were ballerinas who had lead dancer experience in a professional ballet company. Ten finalists were selected via the reputational case selection method. In-depth interviews were conducted for data collection, and the collected data were analyzed with open, axial, and selective coding. The results of this study were derived according to a three-step coding analysis, as follows. First, regarding the formation of ballerinas’ emotional expressiveness, 160 concepts, 31 subcategories, and 9 categories were derived by analyzing the raw data line-by-line through open coding. Second, the process by which a ballerina’s emotional expressiveness is formed was obtained using Strauss and Corbin’s axis coding paradigm category analysis and a process analysis. According to the paradigm model, the relationship between categories was analyzed by focusing on the abovementioned 9 categories. The central phenomenon of the formation of emotional expressiveness among ballerinas was the “expression of the meaning of work.” The causal condition that caused this phenomenon was the “formation of expression motivation,” and the contextual condition was the “formation of ballet.” The ballerinas in the study sample used action/interaction strategies such as “technical ability,” “emotional ability,” and “affective ability” to express the meaning of a work. Mediating and reinforcing conditions were “environmental help” and “social perception.” The result of emotional expressiveness formation was ‘self-expression.” The formation process was analyzed and presented by dividing the stages for reaching self-expression from the manifestation of the central phenomenon into recognition, integration/execution, and adjustment, according to the flow of time and space. In the recognition stage, the emotions of others are recognized in order to convey the meaning of the work. In the integration/execution stage, emotions and thoughts are integrated for self-expression after recognizing the emotions, which are expressed by giving meaning to the movements. In the adjustment stage, the emotions understood by the ballerina are adjusted to the emotions desired by the audience. Although this process has a series of sequential characteristics, self-expression is formed through a repetitive cycle. Third, the components of ballerinas’ emotional expressiveness were derived through selective coding. The core category was the “ability to form self-expression to convey meaning.” By integrating the categories according to this core category, the components affecting the formation of emotional expression were identified. These include expressive skills, knowledge, and attitude. The classifications for sub-elements were technical technique, expressive technique, emotional recognition (i.e., the recognition of others’ emotions and thinking ability), emotional adjustment (i.e., the utilization of emotions and movement control), personal attitude (i.e., concentration, persistence, confidence, and subjectivity), and social attitude (i.e., sympathy, consideration, and openness). Each ability leads to independent self-expression in an integrated way by achieving a balance with each other. The interaction results of the causal, contextual, and mediating conditions affecting self-expression formation ability for meaning delivery by the ballerina were divided into individual, organizational, and social dimensions through the situational model. The individual dimension refers to one’s personal effort to achieve inner awareness and control of the emotion to be expressed based on the interaction between the educational environment and the emotional experience. The organizational dimension refers to the knowledge and experience acquired to maximize the meaning of the work based on interactions with the choreographer, the surrounding dancers, and the instructor. The social dimension refers to social communication with the audience to express the meaning of the work. It was determined that emotional expressions of individual ballerinas are formed through interactions of micro and macro situational conditions. The above results form a cornerstone of the foundation for the implementation of an integrated education focused on the skills, knowledge, and attitudes necessary for a balanced improvement in ballet techniques and artistry. Based on the results of this study, a specific educational program is needed for practically improving the ability of ballerinas to express emotions based on the underlying formation process and components. Additionally, for the formation of ballerinas’ emotional expressiveness, interactions with the instructor is an important factor. Accordingly, there is a need for practical education to cultivate instructor with the necessary skills, knowledge, and attitudes related to emotional expressions.