한국 탈놀이의 ‘수행성’ 연구

Abstract

This study aims to explore the performativity of Korean Mask-Dance Theatre. Though the Korean Mask-Dance Theatre exists long before the theory of performativity comes into being, the examination of Korean Mask-Dance Theatre from the perspective of performativity theory will explain us the modernity and the generality of the aesthetics of Korean Mask-Dance Theatre. Performativity could be defined with two perspectives. One relates to theatricality in general and the other to the linguistic philosophy, that leads speeches to do something. Fischer-Lichte further related the concept of performativity to the aesthetic of phenomenology and the physical experience. In other words, speech/behavior as performance means to speech/behavior as action. Performativity of Korean Mask-Dance Theatre is first shown in the flexibility of its texts. There are many variations of its recorded oral texts. Furthermore, the Mask-Dance theatre played from the evening till dawn until the 19th century and now it could be compressed up to two or three hours. The flexibility of performing hours also tells us the flexibility of performance. In other words, the performance is making along with the improvisational acting of the actors and the coordination of the audience. There are many liminal areas between theatre and ritual as well as between theatre and reality in Korean Mask-Dance Theatre. Ritual prepares the future time because it aims at the efficacy. Since final ritual purpose exists in the future time, there are more flexibility of the performance to make. It is same with the liminal areas of reality. Reality could be the part of performance since it intermingles with theatre. Therefore, performativity and improvisations work more in these theatres than in fixed theatres. Indeed, these liminal areas are one proof to show us the performativity of Korean Mask-Dance Theatre. The emphasis of body and movements is very strong in Korean Mask-Dance Theatre, and so does the theory of performativity. The acting of Korean Mask- dance Theatre accompanies the dance movement throughout the play. The wearing of masks could be another emphasis of the body. The meaning of dialogue also aims at the plural by repeating similar questions as Derrida's deconstructional theory. The empty space of performing area also make the spacial movements easy and flexible. Korean Mask-Dance Theatre has performativity as examined above. It is making performance along with the actors and the audience as time goes by. Texts, space, even the distinction between theatre and ritual(or reality) are flexible in order to allow the performativity. It utilizes many techniques to perform the performativity.