리차드 셰크너의 '퍼포먼스 이론'에 나타난 퍼포머의 변성 의식 상태 연구

초록

This study investigates the mechanisms of consciousness transportation in performers, explores strategies for the autonomous induction and navigation of ‘Altered States of Consciousness’(ASC), and clarifies the underlying causes, characteristics, and significance of ASC in acting. Drawing upon Richard Schechner's theoretical frameworks in ‘Performance Studies’ and performance case studies, this research examines the processes through which performers experience consciousness transportation and the psychological techniques used to induce ASC. It emphasizes Schechner's concepts of ‘Restored Behavior’ and ‘Double Negativity’ as foundational principles defining the essence and identity of performance. An Altered State of Consciousness is defined as a temporary shift from ordinary consciousness, marked by changes in cognitive patterns, temporal perception, meaning construction, sensory experience, and self-boundaries. These phenomena are frequently observed in performers deeply immersed in their roles, temporarily detach from everyday reality and embody identities beyond the self within a constructed world governed by an alternative spatiotemporal logic. At its core, ASC involves a profound interplay between physical performance and shifts in consciousness, enabling performers to access creative potentials beyond their ordinary selve. Schechner’s concept of ‘Restored Behavior,’ which involves the deconstruction and subsequent reconstruction of behavioral sequences, serves as a foundation for infinite creative potential and multidimensional transformation. The effective enactment of restored behavior requires an understanding of ‘Double Negativity,’ a concept that empowers performers to navigate ambiguous identity dilemmas by inhabiting the paradoxical space of “not me not not me,  ” thereby achieving a distinct and singular stage presence. This study further illustrates consciousness transportation through practical examples involving the application of masks and the integration of sound and movement, derived from performance case studies grounded in Schechner’s theoretical insights. These examples demonstrate how performers can actively and agentically engage with ASC within their creative processes.

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