한국창작탈춤 도깨비탈 특성 연구 = A study on Quality of tokkaebi ttala modern recreation of Korean masked dance dramas

다국어 초록 (Multilingual Abstract)

A number of masked dance dramas are designated as national intangible cultural properties in Korea. They include Kasan ogwangdae, Tongyeong ogwangdae, Goseoung ogwangdae, Jinju ogwangdae, Yeongdeung ogwangdae, Kimhae ogwangdae, Eunyeoul talchum, Bongsan talchum, Changwon ogwangdae, Masan ogwangdae, Namgu ogwangdae, Bukgu ogwangdae, Hapcheon ogwangdae and the list goes on. Some of them have been declared national intangible cultural properties in the past and efforts are being made to preserve and pass them onto the next generation. The others are yet to be declared, but are discovered and actively played on stage. Despite the fact that Eunyeoul talchum and Bongsan talchum were originally performed in various provinces of North Korea, their excellent content and performing acts madeit possible to organize and preserve in today’s societies. Hence the instructors and the trainees are undertaking the grand task of preserving the traditional masked dance dramas. Conventional korean masked dance dramas bear some similarities in their contents. They usually deal with stories of depraved monks or the upper classes’ tendency of keeping mistresses, ultimately proposing the idea of encouraging good and punishing evil. But of course, dissimlarities in the costumes or performing acts are also observed. Some dramas show exceptional narratives beyond comparison. Nonetheless, we need modern renditions of masked dance dramas as the world is becoming more internationalized and modernized. We are obliged to contemplate what artistic pieces are worthy enough to pass on to distant generations in the future. It is our liability to decide which masked dance dramas are classic enough to benefit our sons and daughters. Dokkaebi ttal is a Korean creative mask dance drama. Since the days inwhich it was written, there has been a need to introduce and perform it more often so that vast audiences can reach and enjoy it. Consequently, we foresee its development in the future. This drama excels other ones in its humor and clownery, making it a very enjoyable piece. Masked dance dramas in the past featured humor and clownery and promoted the idea of encouraging good and punishing evil. Those properties were inherited to dokkaebi ttal and further complementation was madesuch as friendships, sincerity, and true romance of these days. It also features and promotes that the key to success is being good and doing good deeds. Dokkaebi ttal is also characterized by the fact that the actors’ costumes and stage properties are modernized, which means they are the ones we use today. It is also worth noting that both traditional and contemporary music are used in the background, just as Korean classical and today’s pop songs both make theme songs of the actors. The marry of classical and modern music aims to make mask dance dramas more accessible to audiences. I expect dokkaebi ttal to receive wide acclamation from foreign audiences as well as from domestic audiences, because it was produced with unprecedentedcontents from the very beginning. The expectation goes further, I hope this drama can be valuated to be the one that represents this era and remains for the next generation as a model of Korean creativemasked dance dramas. In order for the expectation to be realized, adequate studies and supplements should follow so that the drama can be invited to international soils and ultimately establish its name as a successful creative masked dance drama.