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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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This paper pays attention to unique performance in which puppet is manipulated by the foot in the Korea and Japan. The reason I pay attention to ‘foot puppet performance’ of the Korea and Japan is for the understanding of Korea ‘foot puppet performance’, specially Baltal(발탈). Like this intention is materialized by expression of new opinion of Baltal’s formation process. The result which is discussed are as follows.
‘Foot puppet performance’ of the Korea is formed by Park, Chun-jae(박춘재). That is called Baltal. By the way, it seems that the Baltal of Park, Chun-jae is formed under the influence of Japan ‘foot puppet performance’. I presume that the first step of Baltal is a mimicry of ‘foot puppet performance’ in the Saitarna, Japan. I think that Baltal is foot puppet perfomance which is manipulated by one performer at first. After this, it may be developed gradually two performers performance, above two performers performance. In this process, Park, Chun-jae’s abilities of traditional witty talk and song display properly. The result have features which are coexistence of puppet actor and human actor, competition of witty talk. The unique of Batal which undergoing the influence of Japan ‘foot puppet performance’ but it is different, and connects our traditional witty talks but it is discriminated come to make.
In addition to Baltal which performed by Park, Chun-jae, ‘foot puppet performance’ of vagabond down troupe also exist. I think that ‘foot puppet performance’ of vagabond clown troupe begin with influence of Park, Chun-jae’s Baltal performance. And it seems that vagabond clown troupe also endeavor to experiment and grope of ‘foot puppet performance’. Countrywide performance activity which is performed by Park, Chun-jae and vagabond down troupe make ‘foot puppet performance’ to be known widely. Guri-Parkchumginori and Wando-Balgwangdaenori which performed by native down are examples. These examples also endeavor to experiment and grope of ‘foot puppet performance’.
The result of experiment and grope by Park, Chun-jae, vagabond clown troupe, and native clown, can be arranged ‘play of entertainment context’, ‘movement of mimicry-centered’, and ‘utterance of witty talk form’. The result are unique features which can’t be found in the Japan ‘foot puppet performance’. Especially, voice performance which use actively witty talk and song provide interesting clue on the argument of performance tradition.
The argument which is studied in this paper are different from the existing argument. These instance are data excavation and introduction of the Korea ‘foot puppet performance’, the first introduction of the Japan ‘foot puppet performance’, aspect arrangement and comparative study of ‘foot puppet performance’ in the Korea and Japan, extensive perspective of Baltal study. Most of all, the biggest difference of this study which is different from existing study is that I insist on the Japan influence of the Korea ‘foot puppet performance’.
‘Foot puppet performance’ of the Korea is formed by Park, Chun-jae(박춘재). That is called Baltal. By the way, it seems that the Baltal of Park, Chun-jae is formed under the influence of Japan ‘foot puppet performance’. I presume that the first step of Baltal is a mimicry of ‘foot puppet performance’ in the Saitarna, Japan. I think that Baltal is foot puppet perfomance which is manipulated by one performer at first. After this, it may be developed gradually two performers performance, above two performers performance. In this process, Park, Chun-jae’s abilities of traditional witty talk and song display properly. The result have features which are coexistence of puppet actor and human actor, competition of witty talk. The unique of Batal which undergoing the influence of Japan ‘foot puppet performance’ but it is different, and connects our traditional witty talks but it is discriminated come to make.
In addition to Baltal which performed by Park, Chun-jae, ‘foot puppet performance’ of vagabond down troupe also exist. I think that ‘foot puppet performance’ of vagabond clown troupe begin with influence of Park, Chun-jae’s Baltal performance. And it seems that vagabond clown troupe also endeavor to experiment and grope of ‘foot puppet performance’. Countrywide performance activity which is performed by Park, Chun-jae and vagabond down troupe make ‘foot puppet performance’ to be known widely. Guri-Parkchumginori and Wando-Balgwangdaenori which performed by native down are examples. These examples also endeavor to experiment and grope of ‘foot puppet performance’.
The result of experiment and grope by Park, Chun-jae, vagabond clown troupe, and native clown, can be arranged ‘play of entertainment context’, ‘movement of mimicry-centered’, and ‘utterance of witty talk form’. The result are unique features which can’t be found in the Japan ‘foot puppet performance’. Especially, voice performance which use actively witty talk and song provide interesting clue on the argument of performance tradition.
The argument which is studied in this paper are different from the existing argument. These instance are data excavation and introduction of the Korea ‘foot puppet performance’, the first introduction of the Japan ‘foot puppet performance’, aspect arrangement and comparative study of ‘foot puppet performance’ in the Korea and Japan, extensive perspective of Baltal study. Most of all, the biggest difference of this study which is different from existing study is that I insist on the Japan influence of the Korea ‘foot puppet performance’.
목차
Ⅰ. 개념 규정과 논의 방향
Ⅱ.〈발탈〉의 독특함에서 찾은 논의 실마리
Ⅲ. 한국 ‘발인형연행’의 형성과 양상
Ⅳ. 일본 ‘발인형연행’의 양상
Ⅴ. ‘발인형연행’의 한ㆍ일간 비교와 그 형성 과정
Ⅵ. 논의 정리와 이후 과제
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