통영오광대의 신명적 특성 연구

Abstract

The fact that Korean people could relieve their Han(rancor) in their living historically was through the rituals of Salp'uri(exorcising evil spirit). Salp'uri(exorcising evil spirit) was performed through Shinmyung, a mysterious experience of Korean people and Shinmyung has been represented through a form of mask dance, Shinmyung P'uri which is group Salp'uri reflecting consciousness of people. In this study focus has been directed to the fact that Shinmyung in mask dance has been representer through social Shinmyung P'uri, Shinmyung P'uri through death, satirizing Yangban(two upper classes of old Korea) through overcoming sense of alienation, on-the-spot reality and through Duip'uri which is final Shinmyung P'uri. In Chapter Ⅱ the relationship between mask dance and Shinmyung was studied. Firstly the concept and characteristics of Shinmyung with a focus on culture of Shinmyung unique to our people were defined and the function of Shinmyung which appears in a form of social functions by its linkage to spiritual and psychological aspects studied. Then the origin and types of mask dance were studied. And the writer studied universal nature of popular consciousness and group consciousness on perception on reality and Shinmyung which represented in mask dance as a group Shiamyung P'uri. In Chapter Ⅲ it was studied with the focus on Tongyoung Okwangdae. It belongs to Kungnam type among mask dance and compared to other regions there were no basic motions or concept of titles for movement of hands and legs of dance and Deotbaegi Dance is its main stream and extemporization of performers is added considerably. Satirizing Yangban of Maldoogi reflecting universal nature of popular consciousness and their outlook en reality is most well represented in this type dance and such fact is presented as explanation the background of selecting Tongyoung Okwangdae. Tongyoung Okwangdae is divided into five acts and content of act is analysed through personalities in the act and their lines with the focus on Hyunjagche Script of CHUNG, BYUNG HO in 1983. In connection with characteristics of dance and its relationship with Shinmyung the characteristics and types of Deotbaegi Dance which is the oldest dance and main dance in Tongyoung Okwangdae is studied. In Chapter Ⅳ on the basis of theories discussed above group Shinmyung represented in Tongyoung Okwangdae was studied and unique technique being used for effective representation of such group Shinmyung was analysed. The types of group Shinmyung being used as framework for analysis were divided into 5 types including social Shinmyung, Shinmyung of life and death, Shinmyung for overcoming sense of alienation, on the spot realism an Duip'uri and their concept deifned. Nextly, above mentioned 5 group Shinmyung was connected to each act of Tongyoung Okwangdae and studied. Through Youngno Mask Act and Hunter Mask Act satirizing the reality of society where the strong dominates the weak being presented in allegoric and unealistic world social Shinmyung was studied anil also Shinmyung through life and death of people through death of Grandma Miyal and birth of a child as shown throgh Nongchang Mask Act. Studied. Through Moondung Mask Act and Poongja Mask Act Shinmyung for overcoming alienation as shown by Maltoogi satirizing Yangban was studied. In connection with on the spot realism such concept is revealed through the term 'Pan'. Upon such 'Pan' character of Korean people was rooted and it can be said that Shinmyung and spirit of community was originated. Accordingly five types of on the spot realism connected to Shinmyung as bequeathed through popular tradition was studied. Finally group Shinmyung was studied from Duip'uri whereby players and spectactors join together in indulgence of Shinmyung. In the conclusion part Shinmyung was defined and content of Tongyoung Okwangdae was analysed. And 5 types and acts group Shinmyung were connected and studied and its reflection of popular consciousness and importance of group Shinmyung represented in mask dance as Salp'uri couched in Shinmyung were defined.;우리민족은 한(恨)을 가진 민족이라고들 한다. 그러나 우리민족은 한을 간직한 민족으로 기록되기 보다는, 낙천적이며 낭만적인 민족으로 기억되고 있다. 이처럼 우리민족이 낙천적일 수 있었던 것은 한을 해소함으로서 새로운 삶을 개척해 나아갈 수 있었던 살풀이 의식이 있었기 때문이라 할 수 있다. 이에 본 연구는 살풀이를 통해 막힌 것을 풀어 주는 역할을 한, 한국인의 신비체험인 신명에 관심을 갖는다. 특히 민족공동체의 삶 속에서 민중의식을 반영하고, 민중들의 삶을 표현한 민속춤 탈춤 속에 나타난 우리민족의 신명에 관하여 논해 보고자 한다. 이상의 연구를 진행하기 위하여 Ⅱ장에서는 우리민족만이 지닌 신명의 문화를 중심으로 신명의 개념과 특성에 대해 정의하고, 기능을 살펴보았다. 이어 탈춤의 기원과 종류, 신명과의 관계를 분석하였다. 신명의 기능에 있어서는 중요한 사회적 공동체 기능을 중심으로 민중의식, 현실에 대한 공동인식과 집단적 신명풀이로서의 탈춤 속에 나타난 신명에 대하여 살펴보았다. Ⅲ장에서는 다른 지방에 비해 기본동작이나 춤사위의 명칭의 개념이 없고 흥에 겨워 추는 덧배기 춤이 그 주류를 이루고 있으며, 연희자의 즉흥성이 많이 가미가 되며 민중의식의 세계관과 현실관의 반영에 의한 말뚝이의 양반풍자가 한국탈춤 중에서 가장 강하게 나타난 통영오광대의 선택배경 타당성을 설명하였다. 전체가 다섯 과장으로 나누어져 진행되는 통영오광대 놀이를 등장인물과 대사를 통해 각 과장의 내용을 분석하였다. Ⅳ에서는 탈춤에 나타난 집단적 신명의 형태를 다섯 가지로 나누어 살펴보았다. 첫째, 영노탈 과장과 포수탈 과장을 통해서 사회적 신명을 살펴 보았고, 둘째, 농창탈과장에서는 삶과 죽음을 통한 신명, 셋째, 소외극복의 신명은 문둥탈과장, 풍자탈과장을 통해서 살펴보았다. 넷째, 현장성은 <판> 으로 <판> 문화를 통해 우리 민족의 심성과 공동체 정신을 신명에 연결지어 살펴보았다. 마지막으로 연희자와 관객 모두가 함께 어울려 공동체적으로 마지막 신명을 풀어내는 뒤풀이로서의 집단적 신명에 대해 살펴보았다. 정리하면, 우리민족 정신이 살아 숨쉬는 삶의 현장을 있는 그대로 반영하고, 민중의식을 대변하고 집단적 신명을 통해 흥을 더한 통영오광대 놀이야말로 민족 공동체의 한풀이 놀이라 할 수 있을 것이다. 따라서 민중들의 마당놀이에 담겨진 애환에 대한 연구를 위해서는 출연자와 관객이 하나되어 판을 이루며 하나되었던 민족적 신명에 대한 연구가 계속되어야 할 것이다.