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The purpose of this article is to study the history and contents of uheui, traditional drollerys of the Goryeo Dynasty(918~1392), which were later developed into several kinds of dramas and to examine their influence on pansori(operatic rendition of oral literature) and mask dance dramas. I will explain how old plays originated in China grew koreanized and settled and investigate their developing aspects by studying their effects on pansori and mask dance dramas via research on relations of the concrete materials and those in charge of plays.
The concrete material on uheui can be found in “weoljeon”, a section of a book entitled “Hyangakjapyeong 5su” written by Choi, Chi-ween. They were named “joheui” and “hwageuk” in the previous research. However, these plays were performed by professional actors and their contents were comprised of same themes and elements in traditional drollerys of Korea and China, Consequently, this is just uheui.
Chinese uheui comprised the contents of telling kings to correct their false behaviors in a roundabout way, suggestive characteristics to satirize the fallen government officials, and mimicking. It was recorded that they were named “uheui”, “changuheui”, and “bseuheui”, Uheui performed in the Goryeo Dynasty(918~1392) and the Joseon Dynasty(1392~1910) had same themes as well in Chinese plays and they were called “uheui”, “changuheui”, and “baeuheui”.
On the other hand, there were another performance forms named “yuheui” in the Joseon Dynasty, which belongs to the lower category of uheui. They satirized scholars and noble men and made a mock of the confucian scholars. Those in charge of uheui and yuheui correspond to players organizing pansori and bonsandae-nori(mask drama of Seoul), mask dance dramas preformed on an improvised stage. When crowns being of female shamans’ husbands and Bannins(low ranking officials) coming of the lowly formed pansori and bonsandae-nori, uheui was presumed to influence on them In contrast to uheuiㆍyuheui and pansori, both of them display a close relation in their concrete forms and contents. Therefore, each act of pansori comprises the independent drollery, so that when players perform each act independently, it can be uheui. It can be realized that the framework of pansori with long stories containing epic contents was affected by novels and shamanic epics while that of each act of pansori was definitely influenced by uheui.
Like pansori, many acts of a mask dance drama have as same independent form as uheui. The act of the aristocrat ridiculed the confucian scholars’ behaviors and their moral rules to govern the Five Human Relations, Chinese classics, letters, and even their culture. The masks of yangban, the upper class gentlemen were deformed in one way or another with abnormal features, so that their shapes themselves became objects of ridicule. In addition to the act of yangban, it can be understood that the lines of meokjung, a black monk and chuibali, an old bachelor in the act of nojang(old monks) were composed of witty remarks. These remarks can be associated with tradition of uheui. This attests to the face that Bannins working in a office established for driving away evil spirits on New Year’s Eve already performed uheui and they applied them to a variety of plays when bonsandae-nori were formed in the early 18th century.
The concrete material on uheui can be found in “weoljeon”, a section of a book entitled “Hyangakjapyeong 5su” written by Choi, Chi-ween. They were named “joheui” and “hwageuk” in the previous research. However, these plays were performed by professional actors and their contents were comprised of same themes and elements in traditional drollerys of Korea and China, Consequently, this is just uheui.
Chinese uheui comprised the contents of telling kings to correct their false behaviors in a roundabout way, suggestive characteristics to satirize the fallen government officials, and mimicking. It was recorded that they were named “uheui”, “changuheui”, and “bseuheui”, Uheui performed in the Goryeo Dynasty(918~1392) and the Joseon Dynasty(1392~1910) had same themes as well in Chinese plays and they were called “uheui”, “changuheui”, and “baeuheui”.
On the other hand, there were another performance forms named “yuheui” in the Joseon Dynasty, which belongs to the lower category of uheui. They satirized scholars and noble men and made a mock of the confucian scholars. Those in charge of uheui and yuheui correspond to players organizing pansori and bonsandae-nori(mask drama of Seoul), mask dance dramas preformed on an improvised stage. When crowns being of female shamans’ husbands and Bannins(low ranking officials) coming of the lowly formed pansori and bonsandae-nori, uheui was presumed to influence on them In contrast to uheuiㆍyuheui and pansori, both of them display a close relation in their concrete forms and contents. Therefore, each act of pansori comprises the independent drollery, so that when players perform each act independently, it can be uheui. It can be realized that the framework of pansori with long stories containing epic contents was affected by novels and shamanic epics while that of each act of pansori was definitely influenced by uheui.
Like pansori, many acts of a mask dance drama have as same independent form as uheui. The act of the aristocrat ridiculed the confucian scholars’ behaviors and their moral rules to govern the Five Human Relations, Chinese classics, letters, and even their culture. The masks of yangban, the upper class gentlemen were deformed in one way or another with abnormal features, so that their shapes themselves became objects of ridicule. In addition to the act of yangban, it can be understood that the lines of meokjung, a black monk and chuibali, an old bachelor in the act of nojang(old monks) were composed of witty remarks. These remarks can be associated with tradition of uheui. This attests to the face that Bannins working in a office established for driving away evil spirits on New Year’s Eve already performed uheui and they applied them to a variety of plays when bonsandae-nori were formed in the early 18th century.
목차
Ⅰ. 머리말
Ⅱ. 중국과 일본의 우희
Ⅲ. 삼국ㆍ통일신라시대의 우희
Ⅳ. 고려시대의 우희
Ⅴ. 조선시대의 우희
Ⅵ. 우희와 판소리ㆍ가면극의 관련양상
Ⅶ. 결론
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