남해안 별신굿 탈놀이의 춤사위 연구

Abstract

This study is a dance study in mask play of Byeolsingut on the southern coast, which is a shamanistic ritual. In shamanistic rituals, good dance is an act aimed at defeating human wishes and bad luck and serving God. However, it can be seen that the conflicts in human life are different from the traditional mask dance, which reveals starkly in the mess. Accordingly, the need for research on how to analyze and understand dance for humans, not for God, was raised in the mask play of Byeolsingut on the south coast. As a method of research, we analyzed the dance moves in humanities, such as literature surveys, field surveys, on-site interviews, and video data analysis to derive form and meaning. The result showed that there were not many kinds of movements used as basic dance moves, and that they showed impromptu movements connected through basic dance moves. Through the analysis process of mask play dance, the basic dance moves of Haemi clown play were mainly composed of Chollinawi and fan sons-in-law, while the basic dance moves of Junggwangdae nori featured Hakdari son-in-law, Eoreum son-in-law, Bae Kim-sa-wi and backstabbing. Compared to other mask dances, the dance moves of Byeolsingut Talnori on the southern coast are not as many and the movements are simple. If Haemi clown dance moves are feminine and delicate, Junggwangdae dance moves are masculine, big and lively. Although there were these superficial differences, it was the same that improvised creation took place and the instinctive temperament and spirit of the host were exercised. By analyzing and studying the dance moves shown in mask play, we were able to derive the correlation between the exorcism and mask play, the characteristics of the characters, the form and meaning of the dance moves. Through this, I hope that mask play can be re-created as a performing culture suitable for the present era, not as part of the offer, and I hope to present various studies.