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
Sinmyung is obtained when the people think with their identity recognized. When the people participate in Mask dance, their characters try to overcome suppression they have in minds. Through this experience they learn and develop the skills needed to deal with real-life hardships. Because of such experience in playing, they are able to gain confidence and a sense of security, which foster a more optimistic outlook of the world.
<Hahwoe mask dance>was origin traditional drama and <Muldoridong> is recent accession drama. The only way to get Sinmyung in the play is to incorporate people’s desires to the story. For The play <Muldoridong>, the story combined a national formality with tragic elements that were narrowed down from these desires. <Wonguimadangsoe> did not have the complete form of madang drama.
The critical consciousness and dramatic techniques, which were converted from traditional mask-dance, are consistent with the contemporary meaning of the play. This method seems to have contributed to the improved formation of the current madang drama. However, the dramatic techniques in mask dance, pansori, gut must be inherited by the people in order for improvement; it is irrational to claim that they must be kept as is.
It is important to combine a traditional spirit with dramatic methods in order for the techniques to have its meaning. <Muldoridong> excluded the problems of the world that are essential to traditional disregarded communication with the audience. As a result of overcoming these obstacles, the new <Wonguimadangsoe> was formed and became the exemplar creation of the commoner’s play these days.
<Hahwoe mask dance>was origin traditional drama and <Muldoridong> is recent accession drama. The only way to get Sinmyung in the play is to incorporate people’s desires to the story. For The play <Muldoridong>, the story combined a national formality with tragic elements that were narrowed down from these desires. <Wonguimadangsoe> did not have the complete form of madang drama.
The critical consciousness and dramatic techniques, which were converted from traditional mask-dance, are consistent with the contemporary meaning of the play. This method seems to have contributed to the improved formation of the current madang drama. However, the dramatic techniques in mask dance, pansori, gut must be inherited by the people in order for improvement; it is irrational to claim that they must be kept as is.
It is important to combine a traditional spirit with dramatic methods in order for the techniques to have its meaning. <Muldoridong> excluded the problems of the world that are essential to traditional disregarded communication with the audience. As a result of overcoming these obstacles, the new <Wonguimadangsoe> was formed and became the exemplar creation of the commoner’s play these days.
목차
Ⅰ. 서론 : 전통연극의 계승
Ⅱ. 전통계승에서의 내용과 형식문제
Ⅲ. 전통의 창조적 계승으로서의 마당극
Ⅳ. 결론 : 민족적 형식과 민중적 사고의 결합
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2013-710-000675412