明淸시기 堂會 공연 비교 고찰 = 『金甁梅』와『紅樓夢』속 희곡 관련 묘사를 중심으로

다국어 초록 (Multilingual Abstract)

The tang hui (堂會) performance was the one that was enjoyed by high ranking officials or the wealthy where they hosted various parties and set up a part of their own manors as stages to mourn or celebrate the myriad events including major holidays and seasonal changes. The tang hui performances can be traced as far back as the Han Dynasty and we are able to see that it was still performed during the Song and the Yuan Dynasties through the discovery of artifacts in archeological sites such as the ancient burial mounds. We can also see that it was established as the most popular performance preferred by the wealthy people of the cities as well as the farmlands during the Ming and Qing Dynasties. As it can be seen, the tang hui performance has immense value in being investigated in the flow of its long history while maintaining its original format. As a matter of fact, because it was performed with the elements of audience, repertory performance and stage which are essential parts of a play merged well together, it was possible to observe the type of performance troupe, their performance, and stage type much closer.
As a result, the following conclusions were reached.
First, all the performance troupes and their repertory performance which were a part in the tang hui were found to have commonalities in that most of them were personally patronized troupes or invited professional troupes during the Ming and Qing Dynasties but there were differences in their repertory performances. In short, while there were Yuanben (院本) or Zaju (雜劇) as well as Hai-yang tune-pattern (海鹽腔劇目) performances conducted during the Ming Dynasty, the Kun shan tune-pattern(崑山腔) and the Yi yang tune-pattern(?陽腔) were mostly played during the Qing Dynasties and most of these repertory performances were in the Zhe Zi Play (折子戱) formats.
Secondly, in terms of their order of their performances, both the Ming and the Qing Dynasties sought to showcase various performances or arranged their performances in appropriate ways to fan the excitement of the audience and enhance the effects of the performance before the actual performance or between them. However, during the Ming Dynasty"s tang hui performance, the main performances mostly included side shows, acrobatics and singing while playing musical instruments before and after. However, during
the Qing Dynasty, the performance began with the greetings by the actors to show respect to the audience before the performance. Judging from such proceedings, we are able to confirm that the performance order was gradually being established towards a stricter and a more formalized tang hui performance way.
Thirdly, both the Ming and the Qing Dynasties had their acts being commonly carried out on temporarily built stages but during the Ming Dynasty, the performances were mostly carried out on wide indoor halls or centering around them or the whole garden as its main central stage. When the Qing Dynasty came to be, there was a phenomenon of using both the exclusively set up stages for plays within their personal homes and temporarily set up stages interchangeably and the exact usage of these stages were different depending on why and how the tang hui performances were hosted.
To sum up, This study confirmed that such specific details actually coexisted. More than anything else, the tang hui performances were assumed to have been executed in seclusion where they were performed by the performance troupe patronized by the high officials or the wealthy who were play aficionados with the minimum number of audiences in their own spaces but as a matter of fact, various performance troupes that existed within each society during that time were the principal movers and shakers of the tang hui performance trend. In terms of the repertory performance, we can assume that a lot of effort was made to enhance the entertainment effect by performing pieces that had a high preference level on the part of the aud

목차 (Table of Contents)

• 1. 서론
• 2. 공연극단과 劇目의 같음과 다름
• 3. 공연순서의 다름
• 4. 공연장소의 같음과 다름
• 5. 결론
• 參考文獻
• ABSTRACT

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