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
Lee Yun-taek’s Ogu-forms of death has been performed steadily since it is performed first in 1989, going through several versions for about 20 years. As is shown in the title of Ogu, the work borrowed its motif from the Ogu exorcising performance. Therefore, the work inherits not only some parts of the Ogu exorcising performance but also its spirit.
The Ogu shows a ritual and entertainment character. There is an pray for rebirth in paradise for the dead, and for the good fortune for the living in this life. The protagonist, Seok-chul, soothes the sorrow who holds the ritual ceremony, and then leads him to a catharsis. The funeral service is not longfaced, but festive. The Ogu makes the funeral service an playful rite, so that the chief mourner, the condolatory visitors, and the audience may not be buried in grief. Such festive surroundings helps the dead to lead to the heaven, and then to get a rebirth in this life. And also, the entertainment character is evident. The alienated and the oppressed play the main characters, and they do not fear death. The chorus is respected as a main character. The house in mourning is ‘a place where all the funny stories are’, and where strife, jealousy, love are, and also there exists a punishment against wrong behavior.
There are a lot of difference between the first version in 1989 and the revised version in 1997 of Ogu. In the aspects of its performances, there are also a lot of difference among those of 1989, 1994, 1997, 2000, 2004. The details on the difference are as follows. Firstly, with an increase in shamans, a full equipment with shaman’s outfit, a skill in the role of shaman, the form of the exorcising performance is being shaped orderly, secondly, the playing stage which looked funny changes to the atmosphere of festival more and more by adding a lot of dances and songs, thirdly, the messenger who takes a dead soul to the underworld who looked awkward changes into a solemn god-warrior, and his untidy act changes into an imposing presence. In short, the whole varying aspects of this work signifies the inheritance of the Ogu exorcising performance.
The Ogu shows a ritual and entertainment character. There is an pray for rebirth in paradise for the dead, and for the good fortune for the living in this life. The protagonist, Seok-chul, soothes the sorrow who holds the ritual ceremony, and then leads him to a catharsis. The funeral service is not longfaced, but festive. The Ogu makes the funeral service an playful rite, so that the chief mourner, the condolatory visitors, and the audience may not be buried in grief. Such festive surroundings helps the dead to lead to the heaven, and then to get a rebirth in this life. And also, the entertainment character is evident. The alienated and the oppressed play the main characters, and they do not fear death. The chorus is respected as a main character. The house in mourning is ‘a place where all the funny stories are’, and where strife, jealousy, love are, and also there exists a punishment against wrong behavior.
There are a lot of difference between the first version in 1989 and the revised version in 1997 of Ogu. In the aspects of its performances, there are also a lot of difference among those of 1989, 1994, 1997, 2000, 2004. The details on the difference are as follows. Firstly, with an increase in shamans, a full equipment with shaman’s outfit, a skill in the role of shaman, the form of the exorcising performance is being shaped orderly, secondly, the playing stage which looked funny changes to the atmosphere of festival more and more by adding a lot of dances and songs, thirdly, the messenger who takes a dead soul to the underworld who looked awkward changes into a solemn god-warrior, and his untidy act changes into an imposing presence. In short, the whole varying aspects of this work signifies the inheritance of the Ogu exorcising performance.
목차
1. 머리말
2. 제의적 성격
3. 놀이적 성격
4. 맺음말
참고문헌
[Abstract]
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UCI(KEPA) : I410-ECN-0101-2009-810-016237884