줄타기의 연기방식과 연희공간에 관한 시론적 연구

Abstract

This study attempts to focus on the acting style and performing space of Jultagi. Julkwangdae's acting includes jannoroot(the name of acrobatics), jaedam, mimicry, and taryoung. The audience identify with Julkwangdae and feel the Julkwangdae's presence while Julkwangdae presents jannoroot. However, Julkwangdae himself concentrates his jannoroot alienated with the audience, and corresponds with them when he talks jaedam. On the position of Julkwangdae, jaedam provides breath-relief and can make narrative performing with the clown. Mimicry shows various character's walking and makes the audience enjoy theatricality and sociality. Julkwangdae shows only the features of the characters through playing the roles. Performing space is filled with rhythmical beat when Julkwangdae sings taryoung. Clown plays narrative performing with Julkwangdae, repeating Julkwangdae's tail of speech and saying chooimsae. He orders Julkwangdae jannoroot and estimates his proficiency. The performing space of Jultagi makes the audience the sense of freedom and feeling of the expended space. The single line, stage space, limits the acting area to the narrow line. At the same time, the stage space highlights the Julkwangdae's jannoroot because of the limit. In the theatrical space of Jultagi, jannoroot makes the space energized. The audience feel the emotional bonds and intimate feeling by participating Julkwangdae's aniri. Mimicry can make the theatrical space full of laughter. The sound of taryoung gives the audience larger theatrical space. To sum up, the acting style of Julkwangdae is ‘presentation’. Julkwangdae is always aware of the audience. This style is different from the western acting style which is unconscious of the audience such as inner acting and ensemble acting. Also, the stage space of Jultagi is not for ‘representation’ but for ‘presentation’. In other words, the audience don't experience fictitious representation, but feel real actor's presence.