KCI등재
楊州別山臺놀이 춤사위 硏究 : 맞춤과 옴중춤을 中心으로 = A Study on Yangju Byulsandae Dancing : Headed for the Madchum and Omjung Chum
저자
韓明玉 (이화여자대학교)
발행기관
학술지명
권호사항
발행연도
1982
작성언어
Korean
KDC
685
등재정보
KCI등재
자료형태
학술저널
수록면
79-90(12쪽)
제공처
소장기관
In this thesis, I tried to make approaches to the aesthetic aspects in dances headed for Kaekichum and Omjung Dance which have been believed to be the most fundamental form action in the performance of Yangju Byulsan Dae Dancing.
Until now the study on Mask Dance has primarily been done on the basis of folklore or dramaturgy. On the other side, the motion study on form action was not enough to be ap-proached in spite of it’s major function in Mask Dance. In this connection, I’d like to exaggerate that an analysis of form action in Mask Dance would be helpful for the whole study of Mask Dance as well as Korean traditional dance.
A practical analysis on the form action of Kaeki and Omjujg dance in Yangju Byulsan Dae dancing consist of subsidiary two jobs.
Firstly, I tried to compile labanotation for Kaeki Dance and Omjung Dance seperately due to insufficient data to be a reference to the form action of Korean Mask Dance.
Secondly, I investigated the origin, sources, social background of Mask Dance and the characteristics as a traditional drama, that is to say, a kind of basic and dramatic promise in the process of drama.
Through jobs above mentioned, I made it clear what is the dramatic function and meaning of Mask dance, what the form action is originated from and what is the meaning of stage space constituted by the sequence of motion line. Furthermore I looked into the artistic value and the characteristics which as a Korean traditional dance “form action” originaley has. Synthesized oudine can be summarized as follows.
1. Yangju Byulsandae Dancing retains general features which Korean Mask Dance originally keeps. In other words, it has a characteristic style such as a omnibus one. It makes it possible for us to have a correct understanding on the reality because the scenic place of drama is not only in accordance with one to be performed but also spontaneous developments of series are well organized.
It keeps the nice progress of dramatic promises due to the external limitation that the dance is mainly performed at the round stage (“Madang”) in the suburb. In these dramatic promises, I could find the function of dance as a Mask Dance.
Through these promises, the function of dance, the character of the cast can be revealed and it is possible to play a role as a bridge between witty dialogue sequency and to soften the con-nection between one scene and another. Futhermore it is sometimes used as a way of entrance on the stage and exit while completing the end of drama as a directive production.
In consequence, above function aggravate person’s unified excitement from the playing and acknowlegement on the presence as well as it forward us with critical views on the presence.
2. I looked into the special features of form action which can be found in the performance of Madchum and Omjung Dance. When Kaeki Dance is performed, they, in advance, say “Bullim” and go around, making a circle. This looks like that “Action” is cast to cross direction. They firstly harden the ground on the same spots. Whenever they go around, they change their mo¬tional styles.
They make the shape of a circle toward body side of themselves with their form action and next rewind that shape by going forward, They repeat this form action.
In other words, I found the shape of a fan with a mark of Taigeuk when two men perform Kaeki Dancc as well as I found the distinguished lots of curved lines rather than straight lines from Omjung Dance because the dance is performed with a revolving motion on the round stage. From the shape of a fan with a mark of Taigeuk extruded by Kaeki Dance on the space of stage,
I could perceive the principal of natural phenomena that life and death comes to cross each other.
It can be also regarded as a principal of life in the dance because the principal belongs to orientalism on the life.
3. Yangju Byulsandae Dancing provide us with a comic sense as other dancings do but this aesthetic value of a comedy is more intensified than any other dancing.
In addition to above aethetic value, “Sa Bang chiki” among lots of form action includes a social function that the players and audience and participate and a festive function that all can be delightful all together.
Especially in the “foot action of Yangju Byulsandae Dancing” I could find another aesthetic value of a strong and animated sense.
This is different from the value of a weak and passive sence of traditional Dancing. I can say it comes from the reason that Yangju Byulsandae daning reflects stubborn, strongly adhesive and healthy life sense artistically.
I can say that this dancing is not so refined and polished as other traditional dance, but other dance can’t catch up with this naturally customed and reinforced form action originated from public life.
In consequence, the purpose of a analysis on the form action in Yangju Byulsandae Dancing is to clarify the artistic value which is showing rather outward atmosphere and which is vigorous but plain.
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