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The aim of this article is to review previous studies on the Chinese Shadow Play, to point out major fallacies of them and to introduce a new approach.
Firstly, this article raises an objection to the classification of previous studies which subcategorized the shadow play under the puppet show. This is important because it is a matter of who is the substantial subject of the performance because it is a matter of deciding the status of shadow play in the performance arts. Previous studies regard "puppet" as the subject but this article put the puppet controller as the subject.
The controller not only controls puppet but also leads the story. The style of Chinese Shadow Play belongs to one of Chinese classical performance styles, the Shuo Chang Ti in which the subject sings when playing a role and speaks when making a narration. Therefore, the Shadow Play, as one of Chinese classical on-stage arts, has a horizontal relationship with puppet show not the vertical one.
Secondly, the regional differences of shadow plays which were shown in this study lie in the puppet outlooks such as texture(paper or leather) and carving art of puppets. But music and programs are all the same. Musical style of Chinese Shadow Play was Ban Qiang Ti which was based on small line of each region and conducted mainly by percussion instruments while its programs were limited to the historical plots like "San Guo Xi". In order to get over the limitation, it had to put an emphasis on the some spectacles, and therefore, developed superficial beauty of puppets. Puppets were nothing more than a visual effect added to the narrative performance. So, to understand Chinese Shadow Play better, we need to pay attention to the peculiar storytelling styles of other than superficial beauty of puppet outlooks.
Firstly, this article raises an objection to the classification of previous studies which subcategorized the shadow play under the puppet show. This is important because it is a matter of who is the substantial subject of the performance because it is a matter of deciding the status of shadow play in the performance arts. Previous studies regard "puppet" as the subject but this article put the puppet controller as the subject.
The controller not only controls puppet but also leads the story. The style of Chinese Shadow Play belongs to one of Chinese classical performance styles, the Shuo Chang Ti in which the subject sings when playing a role and speaks when making a narration. Therefore, the Shadow Play, as one of Chinese classical on-stage arts, has a horizontal relationship with puppet show not the vertical one.
Secondly, the regional differences of shadow plays which were shown in this study lie in the puppet outlooks such as texture(paper or leather) and carving art of puppets. But music and programs are all the same. Musical style of Chinese Shadow Play was Ban Qiang Ti which was based on small line of each region and conducted mainly by percussion instruments while its programs were limited to the historical plots like "San Guo Xi". In order to get over the limitation, it had to put an emphasis on the some spectacles, and therefore, developed superficial beauty of puppets. Puppets were nothing more than a visual effect added to the narrative performance. So, to understand Chinese Shadow Play better, we need to pay attention to the peculiar storytelling styles of other than superficial beauty of puppet outlooks.
목차
Ⅰ. 그림자극 연구는 무엇으로부터 시작해야 하는가
Ⅱ. 분류와 그 의미
Ⅲ. 미학적 가치에 대한 조명
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