병신춤의 민중적 미의식 연구 : 밀양백중놀이를 중심으로 = (A) study on aesthetic senses of Byungshin-choom : with particular reference to Miryang Baejungnori

다국어 초록 (Multilingual Abstract)

Focusing on Byungshin-choom(the crippled dance) of Miryang Baekjungnori, the No. 68 intangible cultural asset, this research purports to examine aesthetic senses of the people who performed it.
To clarify popular aesthetic senses and sentiments immanent in Byungshin-choom serves as a momentum for new estimation of value of numerous unknown dances and it´ll lead to the job closely related to the problem of where the original source of Korean creative dance is to be found.
Since dances are one-time and intangible performing arts, above all preparing 'Mubo' (notation of dances) is the most important. First of all I examined a variety of Byungshin-choom through classification of them and then tried to clarify the status and function of Byungshin-choom in Miryang Baekjungnori through considering transmission of Baekjungnori and its social and cultural backgrounds. Byungshin-choom in Backjungnori is certainly seen to originate in 'Byungshingutnori'.
Hereupon I examined formation of Byungshin-choom and Meanings of the motions through the preparation of 'Mubo' and analysis on motions. The formation of Byungshin-choom is monotonous but unique. Communal unity and individual characters coexist, showing interaction of the entire and parts. It is performed as group dancing, individual free dancing, Byungshin mime and impromptu Deotbaekee dancing by normal persons, which takes tying-and-untying style, the general distinction of Korean dances.
Mime in Byungshin-choom is maximizing dramatic effects of character making by each part of the cast. And Byungshin mime makes the audience feel like abnormal and feel bitter and sorrowful pathos. However we are able to think much of the value of personality and life and get the consciousness of kind in releasing body. If it draws sympathetic emotions from the audience and finally empathy to sympathize with and relate to the people who are inevitably Byungshin (the crippled), the Korea distance by shutting dramatic illusions through techniques of exaggerating and transforming the normality.
Combining the aspect of body release of the crippled and the satirical aspect through social and psychological criticism by the people, Byungshin-choom is warming up to a scene of confusion and disorder with enthusiasm. Shared enthusiasm through Korean-style satire shows Korean qualities of aesthetic senses of the people.
In addition Korean nature inevitably brings an aesthetic sense of adapting to nature to Koreans and thus the Korean view of nature, adverse to artificial works and willing to grasp a natural law and accord with nature is seen to have spawned natural beauty of Korean style in the field of dances. Korean qualities of dances are completely revealed in the part of stretching the distorted body and finally restoring normal natural, as well as the part of dancing randomly without sticking to forms, standing on Gutgeori tune (the tune of a shaman song) and beating time to it, moving the head about, shoulders up and down shaking both arms back and forth.
The enthusiasm and unique aesthetic manifestation of Korean view of nature shown in Byungshin-choom illustrate properly that the life is to be understood in the organic relations.
This study on Byungshin-choom can't help admitting there is certain limitation on analyzing and interpreting it by describing its unique language of expression with the scientific language of letters. And the study on various motions of Byungshin-choom should be left for a future subject to be researched. But I am convinced that the continuous study on popular senses of beauty will provide a momentum for new estimation of value of numerous unknown dances in alienated and obscured corners.

목차 (Table of Contents)

• 목차
• 논문개요 = ⅴ
• Ⅰ. 서론 = 1
• 1. 연구의 목적 및 방법 = 1
• 2. 연구의 제한점 = 2
• Ⅱ. 병신춤의 개관 = 4
• 1. 병신춤 정의 = 4
• 2. 병신춤의 갈래 = 8
• 1) 탈춤 속에서의 병신춤 = 9
• 2) 민속놀이 속에서의 병신춤 = 14
• 3) 창작된 병신춤 = 18
• 3. 병신춤의 기능 = 20
• Ⅲ. 밀양 백중놀이의 전승 = 23
• 1. 1980년 이전의 백중놀이 = 23
• 2. 1980년대 이후의 백중놀이 = 23
• 3. 현행공연 순서 및 내용 = 34
• 4. 밀양백중놀이 속에서의 병신춤의 위상 = 40
• Ⅳ. 밀양백중놀이 병신춤의 구조 및 형상적 의미 = 42
• 1. 병신춤의 실제 = 42
• 1) 동작 분석 = 42
• 2) 동원 매체와의 관련성 = 58
• 3) 동작의 생성요인 = 64
• 2. 병신춤의 구조적 특성과 형상적 의미 = 68
• 1) 춤의 진행구조 = 68
• 2) 병신춤의 형상적 의미 = 71
• Ⅴ. 병신춤에 나타난 민중적 미의식 = 79
• 1. 한국미의 일반적 특징 = 81
• 1) 한국미술을 통해 본 한국적 미적 세계관의 특질 = 81
• 2) 한국음악 및 문학을 통해 본 한국적 미적 세계관의 특질 = 85
• 2. 병신춤의 미적 유형 = 88
• 1) 해학미 = 88
• 2) 파격미 = 91
• 3. 미적유형을 창출한 미의식 = 94
• 1) 신명 = 94
• 2) 한국적 자연주의 = 96
• Ⅵ. 결론 = 99
• 참고문헌 = 102
• 부록:밀양백중놀이 병신춤의 무보채록 = 106
• 영문초록 = 153