This study analyzes the dance work “Concept” and how its creative process -- how it was planned, choreographed, and performed by the researcher. It examines how the core theme ”Concept” was expressed throughout the stages of composing, choreographing, and performing, and how the ‘dépaysement’ technique was utilized. “Concept” is both the subject and title of the work, while dépaysement is used to choreograph movements. The study investigates how surrealist expressive characteristics, thought processes, work intentions, and the dépaysement technique were reflected in each creation stage, using a practice-based research method. Results showed that in section 1, ‘The Layers of Memory,’ ‘isolation,’ ‘paradox,’ and ‘image as a visual form’ were used to create an optical illusion of dancer's movements. Section 2, ‘the Texture of Mind’, used ‘polarity of concept,’ ‘transformation,’ and ‘synthesis’ to show transformation according to changes in the movements. Section 3, ‘The Distance of the Street’, used ‘change in size’ and ‘a chance of an accidental meeting’ to achieve a harmonious combination of the object and the dancer. It is hoped that this article will inspire choreographers seeking new methods to develop their dances.

Wu XiaoBang new dance art aesthetic thought is examined in this paper in order to shed light on the significance of revolution and progress. XiaoBang critically adapted both western romantic ballet and German expressionist dance, and developed the essence of Chinese classical culture. He proposed a new dance art in accordance with aesthetic in the new era of China. Based on a literature review, this study analyzed the aesthetic thought of new dance art from four aspects: dance performance, dance creation, dance education and dance theory. Research papers on new dance art, one-line books and critical essays are used to analyze the development history of modern dance in China and to understand the formation and development of new dance art. In summarizing Wu XiaoBang formation and development of new dance art aesthetics, this research makes a significant contribution to the development of dance discipline and training principles.

The purpose of this study is to reveal the realistic characteristics of Grotesques Realism in the Songpa Sandae Play, which is one of the Korean mask dancing, by applying Bakhtin's theory. In particular, this study analyzes focusing on interpreting the components of the dancing body as the meaning of "becoming“ The section III analyzes the components of the body, dance, props such as the mask and a doll, the accompanied music, and spatial structure with the framework identified in the discussion on Grotesque Realism. Ultimately, the essence of the grotesque realism of the Songpa Sandae play is to interpret the performer as a leading figure in generating the people's laughter and creating the people culture. Therefore, the study on dance of mask dance that cannot exist beyond the body of the performer needs to be treated with special importance.

The purpose of this research is to examine the Soviet ballet in the 20th century in terms of socialist realism and to reappraise them. First, I focused on the conditions of ballet in the Soviet era after the October Revolution; how the classical ballet managed to survive; what kinds of works attempted by young choreographers like Goleizovsky and Lopukhov. Then, I investigated that how the Soviet ballet works represented socialist realism. Socialist realism had been the principle of creation during Soviet regime since 1934. It was not only an artistic style but also a propagandistic ideology that promoted the view of Soviet life. Socialist realism tried to show ought to be, such as an optimistic Socialist utopia not the real social problems. This trend was is based on Marxist-Leninist aesthetics. The fundamental principles of this aesthetics consisted of “nationality(narodnosti’)”, “class system(klassovosti’)” and “partizanship(partinosti’)”. I analyzed four Soviet ballets: The Red Poppy (by Glière and Tikhomirov), The Flames of Paris (by Asafiev and Vainonen), Romeo and Juliet (by Prokofiev and Lavrovsky) and Spartacus (by Khachaturian and Grigorovich). The Red Poppy was considered as the first Soviet ballet because it dealt with the theme of soviet “contemporary” life. The Flames of Paris was full of energetic and vivid character dances which symbolized “nationality (narodnosti’)” of soviet aesthetics. “Drambalet” in 1930s’ was the alternative name of the socialist realism ballet, and Romeo and Juliet was called as the genuine drambalet. Also, Spartacus was provided as the model of Soviet ballet. In conclusion, this study examined the way how socialist realism was reflected in the Soviet ballets. The aesthetic values other than the ideology were also interpreted. Finally, the further steps of study about the Soviet ballet in the 20th century can be developed on the ground of history and aesthetics.