동시대 포용적 퍼포먼스의 접근성 확장 양상 : <Disabled Theater>(2014)와 <Gala>(2020)을 중심으로

초록

This study examines Contemporary Inclusive Performance that moves beyond the reductive representation of disability as ‘Other,’ engaging instead with the materiality of disability as a non-textual element under minimalist artistic conditions through both aesthetic and non-aesthetic lenses. In doing so, it introduces the concept of ‘Invisible Accessibility’ to reconceptualize accessibility from an expanded perspective. This term refers to a mode of access that guides audiences to reflect on the embodied presence of disability on stage, prompting them to reconstruct the relationship between audience and disability and to dismantle cognitive and social barriers such as stereotypes and prejudice. First, the study traces the evolution of disability-inclusive concepts in the field of design, confirming ‘Accessibility’ as a central principle and addressing the limitations of a framework focused solely on physical access. Second, it argues that because disability is shaped through the interaction between bodily and environmental factors, accessibility must be broadened to encompass the invisible barriers that arise at this intersection. Third, it explores ‘Barrier Consciousness” as a theoretical framework that encourages the recognition of disability as it is—without romanticization or objectification—while also acknowledging the risks of reinforcing otherness. The study then analyzes Jerome Bel’s <Disabled Theater>(2014) and <Gala>(2020), both of which employ the concept of ‘Non-danse’—a choreographic approach that rejects conventional dance aesthetics in favor of minimal or everyday movement. It investigates how these non-aesthetic movements generate Invisible Accessibility and shift audience perception, ultimately contributing to the possibility of cognitive social integration. It is hoped that this study will make a modest contribution to ongoing discourse on Contemporary Inclusive Performance.

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