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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
Korean mask dramas can be divided into two types : the Sandae Nori(山臺劇) type and the Maul kut(鄕村祭祀, village ritual festival) type. When comparing the composition of acts, the names and personalities of characters, the scripts, the dramatic forms, and the types of masks, P'yolsandae play, Haeso mask dance, Yaryu and Ogwangdae, Namsadangpae's Dotbwegi are of a similar type in that they are all descended from a Sandae Nori'. But Haboe Pyolsbin-kut mask play and Kangnung Kwanno mask plays are of a Maul-kut type, locally generated mask dramas.
Sandae Nori-type mask dramas had been passed down from the Unified Shilla Period to the Choson Dynasty and were revived during the late Choson period in the vicinity of Seoul by professional players called Banin(泮人). One can surmise that the Banin created Sandae Nori during the first half of the 18th century based on these mask dramas and theatricals passed down by professional players. Thus, the story of "Namsong Kwanheeja", including the Ponsandae Nori' seen by Kang I-chon in 1779, was very similar to that of the currently performed Yangju'pyolsandae Nori' and Pongsan mask dances. In particular, a great deal of Narye's influence can be observed in the current mask dramas because the Banin(泮人) were the professional players mobilized to perform in the Narye(儺禮).
Until the 1930s there were numerous kinds of mask dramas in various regions of Korea but many of them disappeared with only some surviving today. Mask dances varied by region.
(1) Pyolsandae Nori (play) from Seoul and Kyonggido : Mask dramas performed by professional actors from Seoul's Aeogae and Sajikgol districts during the later period of the Choson Dynasty (from the first half of the 18th to the beginning of the 20th century) are referred to as Sandae plays. Pyolsandae plays earned their name because they were a derivation from the Sandae plays and at present, Seoul's Songpa'pyolsandae plays and Kyonggi's Yangju'pyolsandae plays are still being performed. The very delicate and elegant dance forms of Pyolsandae plays were inherited from the refined dance traditions of the central provinces. The dance forms were very specialized and categorized based on their variety of styles.
(2) Haeso mask dances from Hwanghaedo : Mask dances from the Hwanghaedo are referred to as Haeso mask dance. Depending on the masks, costumes, dance forms, and dialogues used, Haeso mask dances can be divided into two main types : one is the Pongsan-mask-dance type common in such areas as Kirin, Sohung, Pongsan, Jaeryong, Sinch'on, Anak, etc.; and the other is the Haeju-mask-dance type common in Ongjin, Kangnyong, Haeju, etc.
(3) Yaryu and Ogwangdae mask dances from the southern Kyongsangdo : Yaryu style was transmitted from the east of the Naktonggang River of the Kyongsangnamdo and Ogwangdae style came from the west of the River. The styles of the Yaryu and Ogwangdae mask dramas are known to have originated from the riverside known as Chogye Pammari(Kyungsangnamdo Hapchongun Dokgokmyon Yuljiri) of the Naktonggang River. In the marketplace of Pammari, a professional itinerant entertaining troupe called Taegwangdaep'ae performed various entertainment acts, mostly mask dramas. Thus, Ogwangdae and Yaryu were adaptations from the plays and acrobatic feats of Taegwangdaep'ae. At present, only two types of Yaryu style, namely Suyong Yaryu and Dongnae Yaryu remain. Ogwangdae style has three types, namely, Tongyong Ogwangdae, Kosong Ogwangdae, and Kasan Ogwangdae.
Unlike Haeso mask dances and Pyolsandae plays, Yaryu and Ogwangdae are of a different type with their own unique archaic and strong provincial style. Their mask dramas convey the impression that they are primarily a play of Malttugi whose character is given a lot of weight. The dance forms of Yaryu and Ogwangdae originate from the so-called Dotbwegi dance, a local folk dance of Kyongsangnamdo.
Sandae Nori-type mask dramas had been passed down from the Unified Shilla Period to the Choson Dynasty and were revived during the late Choson period in the vicinity of Seoul by professional players called Banin(泮人). One can surmise that the Banin created Sandae Nori during the first half of the 18th century based on these mask dramas and theatricals passed down by professional players. Thus, the story of "Namsong Kwanheeja", including the Ponsandae Nori' seen by Kang I-chon in 1779, was very similar to that of the currently performed Yangju'pyolsandae Nori' and Pongsan mask dances. In particular, a great deal of Narye's influence can be observed in the current mask dramas because the Banin(泮人) were the professional players mobilized to perform in the Narye(儺禮).
Until the 1930s there were numerous kinds of mask dramas in various regions of Korea but many of them disappeared with only some surviving today. Mask dances varied by region.
(1) Pyolsandae Nori (play) from Seoul and Kyonggido : Mask dramas performed by professional actors from Seoul's Aeogae and Sajikgol districts during the later period of the Choson Dynasty (from the first half of the 18th to the beginning of the 20th century) are referred to as Sandae plays. Pyolsandae plays earned their name because they were a derivation from the Sandae plays and at present, Seoul's Songpa'pyolsandae plays and Kyonggi's Yangju'pyolsandae plays are still being performed. The very delicate and elegant dance forms of Pyolsandae plays were inherited from the refined dance traditions of the central provinces. The dance forms were very specialized and categorized based on their variety of styles.
(2) Haeso mask dances from Hwanghaedo : Mask dances from the Hwanghaedo are referred to as Haeso mask dance. Depending on the masks, costumes, dance forms, and dialogues used, Haeso mask dances can be divided into two main types : one is the Pongsan-mask-dance type common in such areas as Kirin, Sohung, Pongsan, Jaeryong, Sinch'on, Anak, etc.; and the other is the Haeju-mask-dance type common in Ongjin, Kangnyong, Haeju, etc.
(3) Yaryu and Ogwangdae mask dances from the southern Kyongsangdo : Yaryu style was transmitted from the east of the Naktonggang River of the Kyongsangnamdo and Ogwangdae style came from the west of the River. The styles of the Yaryu and Ogwangdae mask dramas are known to have originated from the riverside known as Chogye Pammari(Kyungsangnamdo Hapchongun Dokgokmyon Yuljiri) of the Naktonggang River. In the marketplace of Pammari, a professional itinerant entertaining troupe called Taegwangdaep'ae performed various entertainment acts, mostly mask dramas. Thus, Ogwangdae and Yaryu were adaptations from the plays and acrobatic feats of Taegwangdaep'ae. At present, only two types of Yaryu style, namely Suyong Yaryu and Dongnae Yaryu remain. Ogwangdae style has three types, namely, Tongyong Ogwangdae, Kosong Ogwangdae, and Kasan Ogwangdae.
Unlike Haeso mask dances and Pyolsandae plays, Yaryu and Ogwangdae are of a different type with their own unique archaic and strong provincial style. Their mask dramas convey the impression that they are primarily a play of Malttugi whose character is given a lot of weight. The dance forms of Yaryu and Ogwangdae originate from the so-called Dotbwegi dance, a local folk dance of Kyongsangnamdo.
목차
Ⅰ. 머리말
Ⅱ. 본산대놀이의 성립
Ⅲ. 본산대놀이와 조선 후기 서울의 유흥문화
Ⅳ. 본산대놀이의 지역적 소통과 변이양상
Ⅴ. 결론
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