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
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The purpose of this study is to suggest a carnival structure of mask drama, and to confirm a this suggestion in Pongsan-mask-dance.
The relationship of paragraphes of Pongsan-mask-dance has ritual frame in the beginning and end. And three paragraph group, Chungmadang(The scene of apostate Buddhist monk), Yangbanmadang(The scene of nobleman), Halmimadang(The scene of old woman) which represent indepent contents are arranged parallel.
Structure of the three Madang which emerge from story system and character confrontation system have equally structure of carnival play. Chungmadang is carnival play of Nojang(The old Buddhist high monk)'s crowning and uncrowning which shows lewdness and expulsion of Nojang. Yangbanmadang is carnival play of Yangban's crowning and uncrowning which shows amusement and loss of authority and power of Yangban. Halmimadang is also carnival play of Miyal's crowning and uncrowning which shows wild nature and death of Miyal.
Through these structure analysis, we know each madang holds the crowning and uncrowning Structure of carnival play in common. Therefore, we assume Pongsan-mask-dance has the crowning and uncrowning structure of carnival play.
By the way, in terms of the different powerfulness of uncrowning of each Madang, Pongsan-mask-dance looks aside at the realisties of life. But Pongsan-mask-dance assimilates the requirement of the outside world, and to lay the requirement under it's own principle. It is sufficiently proved, to the face that the structure of the crowning and uncrowning. Through it makes a methodological detour, Pongsan-mask-dance accomplishes the logic of carnival by any means.
Pongsan-mask-dance which has much the relation of the realisties of life not only expresses the dream of utopia within the limit of a specific ritual, to dissolve it through the psycholic catharsis, but also continues the potential energy even the horizon of every day.
Strictly speaking, Pongsan-mask-dance is not the carnival in the Bakhtin's sense of the word. Because there is a distinction between actors and spectators. And a primitive footlight, namely, torchlight exists. Madang(ground) which is able to call stage is also prepared. Therefore Pongsan-mask-dance is indirect. However Pongsan-mask-dance absorbs the substance of carnival. That is, Pongsan-mask-dance is indirect carnival. Moreover the feature of indirect is useful. Because it settles partly the problem of scar or ill effect which is cause by temporary deviation of the officialdom during carnival time.
An adjective that is called 'temporary' which decorates the feature of carnival represents the distance of between the utopia and the social real. Severe real stands in the finish of carnival. But carnival inscribes bear a hope in mind. In the finish of carnival, participant of Pongsan-mask-dance may wait for another carnival, or wait for living of carnival which is not temporary anymore.
The relationship of paragraphes of Pongsan-mask-dance has ritual frame in the beginning and end. And three paragraph group, Chungmadang(The scene of apostate Buddhist monk), Yangbanmadang(The scene of nobleman), Halmimadang(The scene of old woman) which represent indepent contents are arranged parallel.
Structure of the three Madang which emerge from story system and character confrontation system have equally structure of carnival play. Chungmadang is carnival play of Nojang(The old Buddhist high monk)'s crowning and uncrowning which shows lewdness and expulsion of Nojang. Yangbanmadang is carnival play of Yangban's crowning and uncrowning which shows amusement and loss of authority and power of Yangban. Halmimadang is also carnival play of Miyal's crowning and uncrowning which shows wild nature and death of Miyal.
Through these structure analysis, we know each madang holds the crowning and uncrowning Structure of carnival play in common. Therefore, we assume Pongsan-mask-dance has the crowning and uncrowning structure of carnival play.
By the way, in terms of the different powerfulness of uncrowning of each Madang, Pongsan-mask-dance looks aside at the realisties of life. But Pongsan-mask-dance assimilates the requirement of the outside world, and to lay the requirement under it's own principle. It is sufficiently proved, to the face that the structure of the crowning and uncrowning. Through it makes a methodological detour, Pongsan-mask-dance accomplishes the logic of carnival by any means.
Pongsan-mask-dance which has much the relation of the realisties of life not only expresses the dream of utopia within the limit of a specific ritual, to dissolve it through the psycholic catharsis, but also continues the potential energy even the horizon of every day.
Strictly speaking, Pongsan-mask-dance is not the carnival in the Bakhtin's sense of the word. Because there is a distinction between actors and spectators. And a primitive footlight, namely, torchlight exists. Madang(ground) which is able to call stage is also prepared. Therefore Pongsan-mask-dance is indirect. However Pongsan-mask-dance absorbs the substance of carnival. That is, Pongsan-mask-dance is indirect carnival. Moreover the feature of indirect is useful. Because it settles partly the problem of scar or ill effect which is cause by temporary deviation of the officialdom during carnival time.
An adjective that is called 'temporary' which decorates the feature of carnival represents the distance of between the utopia and the social real. Severe real stands in the finish of carnival. But carnival inscribes bear a hope in mind. In the finish of carnival, participant of Pongsan-mask-dance may wait for another carnival, or wait for living of carnival which is not temporary anymore.
목차
Ⅰ. 머리말
Ⅱ. 봉산탈춤의 축제극적 구조 : 대관과 탈관의 전환 구조
Ⅲ. 봉산탈춤과 현실 : 축제와 일상의 역학
Ⅳ. 맺음말
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