굿 속의 탈놀이:<영산 할아뱜.할먐굿>과 <탈굿>

Abstract

The Korean Mask-Dance Theatre has been developed closely related to Korean Shaman rituals. As many scholars noticed, the performers of the Mask-Dance Theatre were closely related to the Shaman family. In addition, there are mask-dance performances in actual shaman rituals. <Youngsan Grandpa and Grandma> and <T'al Kut, the Mask Ritual>are the representative performances among them. This essay intends to compare these two mask-dance performances in the shaman rituals to the similar performance of Old Grandpa and Grandma episode in the regional Mask-Dance Theatre. This study would bring us further in proving the close relation between the shaman ritual and the Mask-Dance Theatre. <Youngsan Grandpa and Grandma>is one episode, Keori, in the shaman ritual of 'Baeyeonsin-kut' and 'Taedong-kut' in the mid-west seashore area. 'Taedong-kut' is the village shaman ritual for fertility and prosperity, while 'Baeyeonsin-kut' is a private shaman ritual for a large catch of the ship. <Youngsan Grandpa and Grandma> is held in the later part of the whole shaman ritual since the later part tend to be more for entertainment than actual ritual. The story of <Youngsan Grandpa and Grandma> is very similar that of <the Old Grandpa and Grandma> in Pongsan Mask-Dance Theatre of the mid-west region. In addition, some of their dialogues are very similar. Only the later part is different. These similarities indicate that the Mask-Dance Theatre, which came into being in later period than the shaman ritual, has likely taken the story motif of the shaman ritual. <T'al Kut> is also a performance in the shaman ritual of east coasts. <T'al Kut> is more elaborate and recreational than <Youngsan Grandpa and Grandma> of the west coasts. <T'al Kut> is also performed near the end of the ritual, and sometimes it is not performed at all. This indicates that <T'al Kut> has little ritual meaning left. When we compare it with the regional Mask-Dance Theatres such as Keosung Okwangdae, Tongyong Okwangdae, and Suyong Yaryu, the structure and the story lines are also very similar. It is a question why only the motif of the Grandpa and Grandma isfound both in the shaman ritual and the Mask-Dance Theatre. Many other motifs of other episodes in the Mask-Dance Theatre are not found in the shaman rituals. It seems that the Grandpa and Grandma motif is related to the ur-belief in fertility. In other words, this motif seems to be originated from the old belief in the fertility couple of Chonha Taechanggun and Jiha Yeochanggun. The shaman ritual for fertility first picked up this motif, and then the mask-dance theatre also adapted this motif for its recreational purpose. When we compare <Youngsan Grandpa and Grandma> with <T'al Kut>, <Youngsan Grandpa and Grandma> still has more aspects of fertility ritual, while <T'al Kut> lost its ritualistic meaning and its main purpose is to develop dramatic needs. <Youngsan Grandpa and Grandma> and <T'al Kut> are invaluable existent performances to prove theatre's origin in ritual. The existence of mask-dance performances in the shaman rituals shows us the transit performance between theatre and ritual.