민속예능을 통해 본 한일 예능의 원상(原像) -탈춤과 하쿠산 예능에 보이는 영감,함미 모티프의 비교 비교 고찰을 통하여- = A Study of Korean and Japanese Folk Drama Statues Examined through Performing Folk Arts

다국어 초록 (Multilingual Abstract)

The Hakusan area and the religious sphere of Hakusan are related to the Korean culture of the ancient period, and at the same time are remarkable for producing the Okina mask· In addition, they are the secret place where the Noh play was established· It aimed to explore the original figure of mask drama and Okina (elderly man) sarugaku by finding the motif of elderly men and aged women in time-honored folk performing arts of the religious area of Hakusan and by comparing this with ``the yard of elderly man, aged woman`` of Korean mask dramas· The elderly man and aged woman that appear in Korean mask dramas and folk performing arts of Hakusan have a patron saint character who overcomes disasters and prays for the richness of the local community· However, the most significant difference in the two is in the aspect of their dramatic performance· Namely, all elderly men and aged women in Korean mask dramas hope for the richness and prosperity of the village through the explicit performance of sex acts· In comparison, the aged woman in Okinawa`s Hakusan artistic performances worships God and Buddha or the God of Hakusan and performs the role of a priest conveying the blessing of the patron saint of the local community· This paper posits that the explicit sex act performance of current mask dramas intensified in future generations; its original figure as seen in the folk artistic talents of Hakusan from the aspect that the description of sex acts guarantees the ritualistic seriousness that has been restrained through this comparison· Meanwhile, the aged woman, the performing arts of Okinawa`s Hakusan appears separately, and in most cases is unaccompanied by dramatic conflict· In comparison with this, all elderly men and aged women in Korean mask dramas appear as husband and wife· But they do so in a state of separation and are confronted by difficulties such as a disappearance from home or the death of an aged woman after reuniting· This is because it is fate that the elderly man and aged woman cannot be together; the relationship of this husband and wife is not the original figure that the elderly man and aged woman in all mask dramas cannot be together in spite of the appearance as the husband and wife· The Goddess of the aged woman exists as the individual from the God of the elderly man in the transmission of myth published in Samguksagi and Samgukyusa; it is not until later that the God of the elderly man and aged woman appear together· In this respect, the sexual partnership is thin, and it may be said that the aged woman, Okinawa of Hakusan appears in the independent area to represent the original figure of the mask drama, ``the yard of elderly man, aged woman``· However, the Goddess of the aged woman in the history of Korean mask dramas is degenerated as the wife of the God of the elderly man as time passes· Also, the Goddess of grandma, Okina that stands together by taking possession of indigenous territory in the world of Japanese folk rituals as seen in the Obasama-mtsuri, fights to take possession of territory, and in conclusion, shows the history resulting in the victory of Okina·