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노래놀이의 硏究

Title
노래놀이의 硏究
Other Titles
(A) Study on the Principle of Performing 「Nore-Nori」
Authors
金明子
Issue Date
1988
Department/Major
대학원 한국학과
Keywords
노래놀이한국학강강술래놋다리밟기
Publisher
이화여자대학교 대학원
Degree
Master
Abstract
This study is pertained to a folk play as a region of folk custom inherited in he Korean Peninsula. In particular, its purpose is designed to understand the characteristic of enjoying a variety of folk pastimes and the principle of performance applied to 'NORE-NORI' with which the 'NORE-NORI' is organically combined, Since the particular performance of 'NORI' is composed as similaras an Oral literature, it may as well be interpreted that to compose means literally to compose after all. Therefore, by disclosing the composition method for with what and how the 'NORE-NORI'(singing and dancing as well as playing) would be composed, it is considered that the pacific principle of performing such a play may be appreciated. The concrete unfolding contents to solve such a problem are illustrated as follows: In the Chapter Ⅱ, establishing the catagory of 'NORE-NORI' through its preliminary consideration, its kinds have been comprehensively surveyed. In its process, since the most of 'NORE-NORI' are identical with the so-called 'Kang-Gang-Sulae'(a traditional Korean circle dance-usually played by girls under the bright full moon) and the pattern of 'Nottari-Balkki'(Treading on brass-made bridge legs), by having understood that these two patterns of playing are the ones of identical pattern group, the nature of these plays were viewd as the significant meaning symbolized in the form of play patterns in general. And this 'NORE-NORI' has been succeeded to be performed at a number of folklore traditional sites. and thus it is a peculiar type of play performed by a bunch of transmissible group in concert with the play performers and spectators. Therefore, it is known to be the play which the songs and legends are powerfully combined with each other. In the Chapter Ⅲ, considering these kinds of transmissible sites and traditional groups as well as songs and legends regarded as the constituent elements of 'NORE-NORI', by viewing each one of accommodating aspects and their function of the constituent elements, its relation with the paly was taken out to be induced. In the Chapter, Ⅳ, conclusively through looking over the principle of the compositon as to associate the each constituent element organically with mutually-combined relation, and also by revealing the point focused on why these constituent aspects would be seen, the characteristic of 'NORE-NORI' and the principle of performance have become to be appreciated. As the result, it is further understood that since the 'NORE-NORl' is somewhat characterized as the folklore type of play mostly prefered by female groups, it may be of major calendrical events throughout the year possessing the complex nature consisted of the performance by which the songs and the legends are powerfully combined with each other. The 'NORE-NORI' is to be decided by the kinds of play the time of performance and the composition method in accordance with their transmissible groups, and therefore the entire atmosphere of the play would be accordingly decided. And also, the songs and the legends specify the formular of the play as well is illustrating the contents of the play. Accommodating the specific legends under the situation of transmissible sites mutually, the legend strengthens the traditional group with the motivation of the play. The transmissible groups express the awareness of their existence through their folklore songs, and the songs are thus related to the social and cultural tendency of such transmissible groups. The constituent elements of these 'NORE-NORI' furnish 'NORE-NORI' with the peculiarities and the meanings to possess the functions of diversified and composite nature involving such as the entire unity as the folk play for songs, the nature of major times and seasons of the year and limitation, comprehensiveness as well as morality and descriptional nature along with incantational characteristic, artistry, directive quality, divined nature and pastime quality all of which are functioned by the songs. These natures of the play function the significant principle of play performance, and therefore, it has been revealed that those elements enable them to inherit a series of powerful strength of oral tradition even up to the present as well.;본 연구는 民俗의 한 영역인 민속놀이중에서 특히, 노래와 놀이가 유기적인 결합관계에 있는 「노래놀이」를 대상으로 하여 놀이의 특징과 구성의 원리를 파악하는데 그 목적이 있다. 민속놀이의 연행은 구비전승과 마찬가지로 '구성되는' 것이며 '구성해 가는' 것이라고 할 수 있다. 그러므로 「노래놀이」는 무엇으로 어떻게 구성되는가 하는 구성방법을 밝힘으로써 놀이의 연행원리를 규명할 수 있다고 보았다. 문제의 해결을 위한 구체적인 전개내용은 다음과 같다. Ⅱ장에서는 「노래놀이」의 범주를 설정하고 그 종류를 개관하였다. 그 과정에서 대부분의 「노래놀이」는 강강술래 유형과 놋다리밟기 유형의 놀이로써 이 두 유형의 놀이는 동일한 유형군의 놀이임을 이해하고, 놀이의 형태에서 상징되는 의미로 놀이의 성격을 살폈다. 그리고 「노래놀이」는 구체적인 전승현장이 있고 놀이꾼과 구경꾼이 일치하는 전승집단에 의해 놀아지는 놀이로서 노래와 전설이 강하게 결합되어 있는 놀이임을 알았다. Ⅲ장에서는 이러한 전승현장과 전승집단, 노래와 전설을 「노래놀이」의 構成要素로 보고 이들 각각의 관련양상과 기능을 살펴 놀이와의 관계를 도출하였다. Ⅳ장에서는 결론적으로 각 構成要素들 상호간의 결합관계를 유기적으로 관련지우면서 그 기능으로 구성의 양상을 살피고 노래놀이의 특징을 파악하였다. 그 결과, 「노래놀이」는 여성집단향토놀이로서 노래와 전설이 강하게 결합되어 연행이 이루어지는 놀이로 풍농기원의 주술성이 강한 놀이일뿐 아니라 여러가지 복합적인 성격을 가진 동일한 유형군의 세시놀이 임을 알았다. 「노래놀이」의 구성양상을 보면 전승현장과 전승집단에 의해 놀이의 종류와 연행시기, 그리고 구성방법이 정해지며 놀이의 전체적인 분위기가 결정된다. 또한 노래와 전설은 놀이의 방식을 규정하고 놀이의 내용을 설명한다. 상호간에는, 전승현장의 상황은 특정한 전설을 수용하고 전설은 전승집단에 놀이의 동기를 강화시킨다. 전승집단은 노래를 통해 집단의 의식을 표현하며 이는 전승현장의 사회·문화적 성향과 관련된다. 이러한 「노래놀이」의 구성요소들은 놀이의 본래적인 제의적 주술성에 향토놀이로서의 대동성과 歲時性, 여성놀이로서 갖게 된 제한성, 종합성, 그리고 전설이 주는 교훈성과 함께 노래에서 기능하는 주술성, 예술성, 실용성, 신명성, 오락성 등의 다양하고 복합적인 성격의 기능을 갖게하여 「노래놀이」에 특징과 의미를 부여하였다. 이러한 놀이의 성격은 놀이연행의 중요한 원리로 작용하여 오늘날까지도 강한 전승력을 갖게 하였음을 밝혔다.
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