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韓國民俗 假面舞의 地域的 特性

Title
韓國民俗 假面舞의 地域的 特性
Other Titles
Regional Character of Korea Folk Mask Dance
Authors
李美順
Issue Date
1983
Department/Major
교육대학원 체육교육전공
Keywords
한국민속가면무춤사위내용전개
Publisher
이화여자대학교 교육대학원
Degree
Master
Abstract
This tretise placed it's principal object on the examination of regional character for folk mask dance of Korea. The folk customs indicates the life of people, and folk masque has been developed and succeeded as the expression of people's life while the folk customs formed through the people acclinate and cope with historical, social environment and natural environment where they are belong. The reason I have choose mask dance among the folk masque is that the folk dance is exposes reality of every aspects in the simple life of the people, as a traditional art, and motion, emotion and language of that time is embossed minutely. Therefore we could recognized where the popular feelings lies, also we could understood what is the desire of the people through mask dance. Further more, we be able to perceive the respiration and traditional rythem from magnanimous dance and mask, and we be able come into contact to the original mystry through primary costume and mask. Finally the mask dance is mouthpiece of the history due to resentment and remorse of the period is included in the dance. The mask dance which widely distributed through out the nation is derived from Sandaetokam dance, however we can find out the regional defference respectively among central area, northern area and southern area through study of regional demarcation. The study has been developed to find out special character on dance taboo and developing subject for each act and scene of Tongyongohkwang dance of southern area, Bongsan mask dance of northern area and Yangjoo Byolsandae of central area. To summarized the conclusion based on the study of the above mentioned, most of all, by the character of natural features and weather, the central area represents sadness of peacefull and strong emotion as of peninsular featilres. The northern area represents continental sentiment and grandeur strength, and the southern are represents optimistic and meditational dream as of oceanic features. Yangjoo Byulsandae : Which is composed with all of 8 courses and acts. The pretence of dance involves simple and close formal beauth with specific character of centrallic stability as of geographic center of this nation, approxmately 22 of exact and objectively described skillfull mask had been developed which is made from gourd as a main material. Bongsan Mask dance : Which is composed with 7 courses and acts. The pretence of cance is prosressive and generous and advanceive due to the area has continental features connected to the Manchuria, approxmately 26 of humanity and realistic mask had been developed which is made from paper material. Tongyong Ohkwang dae : Which is composed with 5 courses and acts. The pretence of dance in volves smoothness without sharp corners and improvised style, as of oceanic feature adjacent to the sea. Approxmately of simple and strong charactered incantational mask had been developed which made from gourd as a main material. I emphasize the necessity to have more diversified and deep study for the development and succession of the mask dance which has regional character under recognition of new view of point for the mask dance.;本 論文은 韓國 民俗 假面舞의 地域的 特性을 考察하므로서 지역적인 차이를 알아 내는데 주안점을 두었다. 民俗이란 民間의 生活을 말하며 그들이 속해 있는 自然的 환경과 歷史的, 社會的 環境에 대처하고 적응하는 가운데 生成되어 民俗劇은 民衆生活의 表現으로 발전 계승되어 왔다. 傳統藝術로서 假面舞는 꾸밈없는 民衆生活의 모든 양상이 그대로 드러나고 당시의 言語, 感情 動作이 소상히 부각되는 점과 민심의 소재가 어디에 있고 이들의 염원이 무엇인가를 알게 되며 활달한 춤과 가면에서 우리의 전통적인 율동과 함께 호흡을 감지하게 되고 원색의 의상과 가면에서 원초의 신비와 접할 수 있으며, 時代의 울분과 회한이 담겨져 있어 歷史를 대변하고 있다. 우리나라에 널리 분포되어 있는 假面舞가 山臺都監劇 계통이면서도 地域區分을 통해 본다. 中部地方, 北部地方, 南部地方의 假面舞가 서로 차이가 있음을 발견하고 中部地方의 楊州別山舞와 北北部地方의 鳳山탈춤 南部地方의 統營五廣大를 중심으로 각 과장별 내용전개와 춤사위 가면등으로 나누어 그 特性을 알아 보았다. 이러한 硏究의 토대로 結論을 요약해 본다면 우선 풍토 氣候的인 特質로 中部地方은 半島性으로 平和的, 激情性의 슬픔을 北部地方은 大陸性으로 雄渾的, 感傷性의 힘을, 南部地方은 海洋性으로 樂天的 瞑想性의 꿈을, 나타내고 있다. 陽州別山臺는 모두 8과장으로 구성되어 있으며 地理的으로 우리나라 中心部로서 安定된 중심성을 特質로 춤사위가 소박 치밀하고 유연한 形式美를 가지고 있으며 바가지를 주 재료로 22개 내외의 사실적 기교적인 가면을 가지고 있다. 鳳山탈춤은 7과장으로 구성되어 있으며 만주와 연결된 大陸的인 특질로 춤사위가 진취적이고 활달하여 도약적이다. 종이를 주 재료로 26개 내외의 인간적 사실적인 가면을 가지고 있다. 統營五廣大는 5과장으로 구성되어 있으며 바다와 近接한 해양성적인 특질로 춤사위가 모나지 않고 둥글며 즉흥적인 멋을 가지고 있다. 바가지를 주 재료로 29개 내외의 단순하고 개성이 강한 주술적 가면을 가지고 있다.
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