오태석 연극의 연행성 기술(記述)하기 -<북청사자야 놀자> 공연 텍스트의 음악·언어 생성과정 중심으로-

Abstract

This article plays Oh Tae Suk identify the body as art and musical theater as a means of uniquely performed in the form of dramatic rhythm, direction and performances that generate the Drama True to witness the scene was described by observing the position. <Bukcheong Lion Dance> show co-producer in the audience to perform to the castle, while working to convince them to change the show has generated. This article late in the process, the reaction of the audience to perform a variety of pole types Sandae(산대(山臺)) mediated disassembly and is a description of the process under reconfiguration. Oh Tae Suk in South Korea expressed sentiments that makes the play work with the spirit of the artists and performers has produced extreme Mokwha. In the process of Korea are interested in traditional performance gestures, dance, gestures, language, the uniqueness of the sound, embodied in the language of the traits and the way the theater was performed. The results show Oh Tae Suk and Mokwha traditional performance been a feature of the current theatrical performance and the availability and Korean to produce its significance was evaluated by the performance. 2011 <Bukcheong Lion Dance> perform the type of the traditional performance Sandae performance through a process of performing and the audience's perception has changed in the script text. Therefore, the performances and the script text, the researchers created through a process of mutual interpretation of theatrical performers rather than the arrest of the language and is implemented by the sensual conduct of the body of a way to organize the show was about to describe. The main content of the body of the first, Oh Tae Suk two targets to heal while recognizing the reality is that it generates a playwright and theater. Second, the ever-conscious of the audience, and audience and breathing to create a comfortable space to explore the process from the performances were recorded. Third, the article <Bukcheong Lion Dance> show the actors in the audience, described the phenomenon as a new understanding. Oh Tae Suk the point the audience to play to stimulate the body at a distance from the show, creating a reflection of the audience pointed out that the two dimensions meet the playwright and the play just as alcohol is to demonstrate the process of creating and performing. Finally, the oral narrative, such as going to produce meaningful music that can be expressed in language or a primitive type that can play musical performances that highlight the technical field was generated with the playwright. <Bukcheong Lion Dance> of Sandae performance and image for two with a traditional performance, rather than rely on specific objects, and musical theater specifically, the reality was expressed through the material. Oh Tae Suk Sandae performance in this show dynamism and materiality of the performative (materiality) of the musical characteristics consisted mainly meaning. In this study, dramaturgy, and staging of Oh Tae Suk formed through the process of preparing is to analyze availability arrested. And in the process to determine the musical characteristics were described. In the present study show the mutual influence between actors and audience to consider the framework of actions to configure the results dramatically show that the Allegra or the image of a human life but human life itself as a model to show that the reality itself. Therefore, we used to play with the boundaries of reality of the times, I will show that the type, performativity and the Oh Tae Suk and Mokwha the way of the historical vision and the ability is also present. I show more than anything in this <Bukcheong Lion Dance> arrested and performers of the language of the body sensory activity that is implemented by the configuration of the playwright and director performativity framework, the site experienced this extreme. Specifically, this paper observed that arrested at the scene was described as a castle town.