수잔 랭거의 예술생명론과 봉산탈춤

Abstract

This research analyzes Bongsan Mask Dance in terms of Susanne K. Langer’s view of organic art theory. According to Langer, art works have structures of feeling, living forms that act on the principle of life. Thus, the significance of works of art can be perceived through the art form itself. Langer’s view can be found in ‘teum’ and ‘transformation’. The ‘teum’, major structural element of Bongsan Mask Dance, mediating the first ‘madang’ and the following ‘madang’ and thus creating a change in the stage space, leaves temporal and spatial room possible for the audience to intervene in the performance. ‘Transformation’, major expressive element of Bongsan Mask Dance, occurs when the flow of performance changes from a language structure to a rhythmic structure. In the middle of the performance, actors can leave the stage and talk to the audience directly. This freedom and openness create dynamic change in the performance. It can be said that in Bongsan Mask Dance performers and audience make performances together in one open, informal, and active body. ‘Teum’ and ‘transformation’ are two creative elements which infuse life into Bongsan Mask Dance. In this way, Susanne K. Langer's idea of art form as a living entity can be found in the performance of Bongsan Mask Dance.