유랑예인의 무(巫)업과 연희활동-포장극단 연희자 활동을 중심으로-

Abstract

The present study, among the discussions about the succession of traditional culture, has examined the theatrical activity and characteristic of descendants who continued the shamanic profession and its pattern through the activity by the theatrical company on the road who was the wandering theatrical group. Under such a situation that the shamanic profession still attracted an attention in overall culture even in 20th century, the present study has paid attention on the activity of those who were born in the line of shaman to have made a performance content of various types. The theatrical company on the road where they belonged was the major activity stage by theatrical performers who were active in previous Changguk Theatrical Company, Women’s Changguk Theatrical Company, and Women’s Nongak Theatrical Company. Theatrical performers in the theatrical company on the road used to learn Pansori and play at the gisaeng call-office and the training center for Korean traditional songs or learn Pansori through the activity by the theatrical company on the road and mastered the play to continue new theatrical performance. These activities link to the phenomenon developed to a performance content of various types by the descendents who were born in the shaman family to have continued the shamanic profession based on the traditional pattern of shamainc profession in 20th century. Representing theatrical performers in Jeonnam area who were active in the theatrical company on the road are Kang Joon Seop who is the descendant of shaman line of Jin-do Park Seok Hwa and the holder of Dashiraegi (the funeral play) which is currently the national intangible cultural asset, Kim Ae Sun who is the descendant of Gyeongnam Okwangdae (five clowns) and shaman line and the transfer assistant of Dashiraegi, and Chu Jeong Nam who is the descendant of shaman line of Haenam An Cho Ne and the holder of drum beat method for Pansori which is Jeonnam’s intangible cultural asset. Such theatrical activities by the line of shaman in the theatrical company on the road were not exceptional. Later, these people continued various art activities and were appointed for the intangible cultural asset, and continued its tradition as a professional theatrical performer until now.