보리스 아론슨(Boris Aronson)의 무대디자인에 관한 연구

A Study on Boris Aronson and his Design AestheticsKwon, Yong(Honam University)This is a study about an artist who worked in the theatre from the mid-1920s through the late 1970s designed over a hundred productions, many of them landmarks of originality for the American stage. He had spent his first 24 years studying and designing in Russia. And he worked consistently within the structure of a theatre company part of an artistic collaboration. The designer as a member of a team did not exist when Aronson arrived in America but he change the situation little by little.I am attempting to explain how an artist of exceptional gift helped the shape the dramatic works on which he collaborated. By looking in detail at how Aronson created his designs the theatrical process as it has been practiced in New York, especially but not exclusively on Broadway. In fact, there may not be an another major figure in the American theatre who, as Aronson did, traveled all the way from revolutionary Russia to avant-garde Yiddish theatre in the Bronx to the Broadway musicals of Harold Prince and Stephen Sondheim- with stops along the way at the Group Theatre, Radio City Music Hall and epic theatre of Jean Giraudoux and Archibald MacLeich. Aronson was wary of what he called "the artist's handwriting." The designer must always be servant to the play. In the theatre he has an obligation not to overwhelm the production with his own chirography. He was a painter and sculptor and he confined his individuality to those pursuits. He knew that if he didn't, he would be designing the same play over and over again. He knew that when the designer dominated, the play failed. And he perceived himself part author, part director. In this study I focused on how to collaborate with a director and get the idea through the design process. Aronson died in 1980, but his ceaseless works made American theatre one step forward.