한국 전통극의 희극성 연구 = (A) Study on the Comedic Qualities of Korean Traditional Drama
저자
발행사항
광주 : 조선대학교 대학원, 2003
학위논문사항
학위논문(박사)-- 조선대학교 대학원: 국어국문학과 2003. 8
발행연도
2003
작성언어
한국어
주제어
KDC
680.911 판사항(4)
DDC
792.09519 판사항(21)
발행국(도시)
광주
형태사항
iv, 234p. ; 26cm
일반주기명
참고문헌: p. 227-234
소장기관
This study examined comedic qualities found in Korean traditional dramas and archetypal images of Korean common people.
Chapter II chronologically reviews comedic qualities and their concept in traditional dramas. As Henry Wells said, "the study of genre is 'genetics of literature'", the study of genre must be 'important genetic information' to identify comedic qualities represented in the dramas. If so, what is genetic information inherent in the Korean traditional dramas? This study confirmed that it is an archetypical comedic qualities inherent in Korean people.
This study considered "what is humorous" as the nature of comedy.
And the following classifications were used to analyse comedic qualities of traditional dramas: 'festive comedic qualities', 'satirical comedic qualities', 'transcendental comedic qualities', 'reformative comedic qualities' and 'concluding in a happy ending'.
Their concept in traditional dramas was reviewed chronologically and the results were presented as follows: It was shown that comedic qualities of traditional dramas came from ancient thanksgiving ceremonies together with an instinct of imitation and recreation of humans. Comedic qualities of traditional dramas have the following transitional history: festive ceremonies such as ancient national competitions, Woohee (a sort of ancient dramas) from the period of Three States, Johee (a sort of ancient dramas) during the Goryeo Dynasty, So-hak-ji-hee(various dramas) and Mu-dang-gutt (exorcism) of the early Chosun Dynasty, and traditional dramas of the late Chosun Dynasty. And Korean traditional comedic qualities came from national competitions and Tangun(the founding father of ancient Korea) mythology. And they consist of festive comedic qualities, transcendental comedic qualities, and concluding in a happy ending. Satirical comedic qualties appeared since the Goryeo Dynasty and reformative comedic qualties began in earnest from the early Chosun Dynasty based on So-hak-ji-hee. Mu-dang-gutt-nori(exorcism) appeared as satirical and parodic based on reconciliation and retaliate intended by Mu-dang-gutt.
Therefore, traditional Korean comedic qualities were a basis of formation of traditional dramas of the late Chosun Dynasty.
Chapter III examines how comedic qualities appeared in space-time of mask dramas. Mask dramas already had the characteristic as comedic. Facial expression of the masks was real and grotesque, but very extemporary, humorous and satirical. Korean masks highlighted a certain part through exaggeration and distortion by integrating internal conflicts of one class.
However, when a main subject was delivered through masks in that way, the masks worked as a special prop, which made the audience laugh. Thus, masks themselves in Korean mask dramas already contained comicality.
In setting of the dramatic performances of mask dramas, comedic qualities were already shown. As mask dramas were closely related to festivals, its setting had a meaning as a special location. The setting as an accepted deviation and a chaotic place intended to build a new internal order by returning to what it had been before it existed. Therefore, the setting of mask dramas was for a suggestive and festive play and worked as a sacred judgement. It parodied and accused societies of absurdity. As the setting was essentially a stage, festive comedic qualities were alive in it.
Archetypal comedic qualities, satire of fraud and the real situation of governing classes, incorporation and retaliation, and hilarity were represented in the main subjects and forms of mask dramas.
In chapter IV, comedic qualities as they appeared in puppet shows was examined. As Korean puppets were also made realistically and roughly, certain parts of the figures representing classes symbolized by puppets were exaggerated and highlighted. For example, when characters of puppet dramas were examined, Hong-dong-ji was naked, Park-chum-ji had a relatively big mouth with a long beard, Kok-du-gak-si had freckles all over the face and was unbalanced. The size of puppets was different. The puppets named Hong-dong-ji and Park-chum-ji were distinctively big. So, the audience laughed out as soon as they saw the puppets and they immediately understood that they were the main subjects of the dramas. A puppet named Hong-baek-ga was a stage itself, which was divided into two spaces:
Hong(red) and Baek(white). Thus, Korean masks represented various meanings and had satirical characteristics.
The setting of puppet shows was also a festive stage and had a special meaning. In puppet shows, a stage was built and Sanbaji and Daejabi led the dramatic performance. In the process, as Daejabi acted several roles in one drama, he used a bamboo tube to make up different voices. Therefore, it was also confirmed that parody and satire were a basis of the drama in the setting of puppet shows.
In forms and main subjects of puppet shows, social absurdity and socially inherent disharmony of that time were parodied to give a lesson.
Chapter V examines comedic qualities as they appeared in Pansori (a dramatic song).
Also in the spacing and timing of pansori, comedic qualities permeates.
Pansori is an impromptu performance art and it is extremely variable. The focus and dramatic concentration were all given to one location. Also in Pansori, a parody of existing stories can be delivered through the Chang (a song), the Aniri (explanation by voice) and the Balim (description by gesture).
As performers acted out various roles, they had to be able to make imprompt performance according to the characteristics of the different characters. Thus, Pansori as a performance based on comic characteristics had comedic qualities.
Pansori was a product formed by the harmony of the performers, the drummers and the audience. They each had their own roles. Performers who led the drama acted as producer, narrator, and actor. The drummer acted as actor, audience, producer, musician, a stage and background effect. The audience as assistants restrained the performers and drummers. They controlled their participation in the performance and at the same time enjoyed it. In Pansori, the characteristics of the drama appeared according to how their roles were organized. In Pansori, in particular, ability of performers was important. According to characteristics of drama modes, performers led a drama by reciting, impromptu creation, Chang, Aniri, and variation of rhythm and songs.
Comedic qualities were central to their performance. Transcendental understanding of the content of drama by performers and the audience was an important device for the comical dramatization of Pansori.
The comedy in Pansori is related to its formative process if the late Chosun Dynasty and the characteristics of the performers. At that time, due to the weakening of royal authority, public order was in confusion and accordingly social decay was at its height. Pansori satirized the society of that time and was established as a mode of drama recognized by the nobility. Such characteristic was formed as the main subject of Pansori.
As demonstrated above, it was confirmed that core of Korean traditional dramas was humor. Standards such as festive, satirical, transcendental, reformative and concluding in a happy ending were applied to Korean traditional dramas as a basis of the dramas. The comedic qualities worked as a dynamic factor to transcend the absurdity of life and retaliate, and to correct what was wrong. It helped to establish a system of thinking for our people to give us a patient and elegant attitude.
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