지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
‘Sinmyung-Puli’(liberation or release of spiritual human nature) was the main substance of the folk-art experience, the measure of aesthetic judgement, and the purpose of action in art. Folk artists have taken aim at ‘Sinmyung-Puli’ as their object and have regarded their performances as successful by the degree to which they came dose to ‘Sinmyung-Puli’.
At first, it appears that the concept of ‘Sinmyung’ is concerned with the kind of religious human activity accompanied by art, play, labor etc. But if we consider the nature of the human being, ‘Sinmyung’ is the original power of life that has been repressed by civilization and human culture. Therefore ‘Sinmyung-Puli’ is to liberate ‘Sinmyung’. The most representative characteristic of folk-art is ‘Hong-Dongzi’(features a completely liberated and physically strong character in the image of a nude hero) in ‘Ggoduggacsi-noleum’(A kind of Korean puppet play).
‘Sinmyung’ has an order of increasing to decreasing intensity. At the peak of ‘Sinmyung-Puli’ one feels ecstasy. This peak experience is similar to the ‘flow experience’(as described by M. Csikszentmihali).
On the one hand, ‘Sinmyung-Puli’ can exist in variations, depending on the different genre of folk-art in which it is achieved. These variation appear in the form and content of ‘Sinmyung-Puli’. The expression of ‘Sinmyung-Puli’ can be roughly categorized in to two types: ‘Gut’ and ‘Noli’. Going one step further, within the ‘Gut’ type, one can make an additional distinction between spontaneous and passive genres.
The spontaneous category encompasses the following genres ‘Poongmul’(farmer’s traditional holistic arc - mainly use a percussion instrument), ‘Talchum’(mask drama), ’Minyo’(folk song) that has form by reciprocating. The passive(or steady) category encompasses the following: ‘Pansori’(traditional musical performed by solo), ‘Sinawhi and Sanzo’(the improvisational play of instruments such as ‘Daegum’, ‘gayagum’, etc.). ‘Sinawhi’ is an orchestral form, whereas ‘Sanzo’ is a solo form, ‘Gyobangchum’(dances in a traditional amusement quarter).
‘Sinmyung-Puli’ has the character of infection and liberating power in the context of folk-arcs that are performed as a communal activity. There are several conditions that must be met by each of the three components of a performance - the performing artist, the spectator, and the stage.
Although this article has not solved all problems on ‘Sinmyung-Puli’, it provides a foundation on which further, detailed study of this concept may proceed.
At first, it appears that the concept of ‘Sinmyung’ is concerned with the kind of religious human activity accompanied by art, play, labor etc. But if we consider the nature of the human being, ‘Sinmyung’ is the original power of life that has been repressed by civilization and human culture. Therefore ‘Sinmyung-Puli’ is to liberate ‘Sinmyung’. The most representative characteristic of folk-art is ‘Hong-Dongzi’(features a completely liberated and physically strong character in the image of a nude hero) in ‘Ggoduggacsi-noleum’(A kind of Korean puppet play).
‘Sinmyung’ has an order of increasing to decreasing intensity. At the peak of ‘Sinmyung-Puli’ one feels ecstasy. This peak experience is similar to the ‘flow experience’(as described by M. Csikszentmihali).
On the one hand, ‘Sinmyung-Puli’ can exist in variations, depending on the different genre of folk-art in which it is achieved. These variation appear in the form and content of ‘Sinmyung-Puli’. The expression of ‘Sinmyung-Puli’ can be roughly categorized in to two types: ‘Gut’ and ‘Noli’. Going one step further, within the ‘Gut’ type, one can make an additional distinction between spontaneous and passive genres.
The spontaneous category encompasses the following genres ‘Poongmul’(farmer’s traditional holistic arc - mainly use a percussion instrument), ‘Talchum’(mask drama), ’Minyo’(folk song) that has form by reciprocating. The passive(or steady) category encompasses the following: ‘Pansori’(traditional musical performed by solo), ‘Sinawhi and Sanzo’(the improvisational play of instruments such as ‘Daegum’, ‘gayagum’, etc.). ‘Sinawhi’ is an orchestral form, whereas ‘Sanzo’ is a solo form, ‘Gyobangchum’(dances in a traditional amusement quarter).
‘Sinmyung-Puli’ has the character of infection and liberating power in the context of folk-arcs that are performed as a communal activity. There are several conditions that must be met by each of the three components of a performance - the performing artist, the spectator, and the stage.
Although this article has not solved all problems on ‘Sinmyung-Puli’, it provides a foundation on which further, detailed study of this concept may proceed.
목차
Ⅰ. 머리말
Ⅱ. 신명의 통용배경과 민속예술의 신명
Ⅲ. 신명의 성격과 신명풀이의 의미
Ⅳ. 신명의 풀이과정과 유사개념
Ⅴ. 신명풀이의 여러 모습들
Ⅵ. 신명풀이의 집단성과 예술가의 역할
Ⅶ. 신명풀이의 조건
Ⅷ. 맺음말
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