동아시아 전통인형극 구음의 보편성과 한국적 독자성

Abstract

During the period of Tang dynasty, four letters of Roryulolu(魯流盧樓) from Sutra of Nirvana(涅槃經) and Sildamjang(悉曇章) were used as a chord. Many complex changes occurred in the following generations. Roryulolu succeeded as Lalari(囉囉哩) and Lilala(哩囉囉) in Zen poetries and quotations by Buddhist monks of Chinese Tang and Song dynasty. This oral sound was frequently used in Zen poetries and quotations of Chinese and Japanese monks. Lalari(囉囉哩) and Lariryun(囉哩嗹), the derived form of Lalari were called “Lariryun, Liryunra, Lariri, Lalaryun, Laryunla, Ryunlaryun, Lalaryun, Liraryun” in puppet shows of Fujiansheng, China. Oral sounds such as “Tteiru (…) ”, “Naah Ney Naina Liri Lara (…)” are recited during the first part of Korean Kkoktugakshi Nori (puppet shows) and “Ninano Naan-Sil Ninano Nansil Nanine (…)” in the scene of Pijori. “Nurari Nurari Nuoto Toojai(東西) Toojai(東西)”, the oral sound of ‘Noroma Puppet’ in Japanese island of Sado shows close similarity with the oral sound of Chinese Fujiansheng puppet show, Goeroehui’s ‘Lalari’ and Korean puppet show’s ‘Lari Larila’. Turkish puppet show, Karagöz also utilizes the oral sound of “Yaleli yaleli Aman aman” These oral sounds must have been recited to invite gods or to entertain the gods. In the recent years, the oral sounds are firstly used in the beginning of a play to purify the stage and cast out demons. It also functions to make puppets dance merrily around by reciting it in accordance with the puppets’ movements and by leading musical instruments. It seems that the oral sounds related to ‘Lalari’ were spread out across the world by wandering artist groups like Persian gypsies or Buddhist monks. Thus, Goeroehui of Chinese Fujiansheng, Kkoktugakshi Nori of Korean Namsadangpae, ‘Noroma Puppet’ of Japanses Sado island and Turkish shadow puppet show were all originally a puppet show of wandering artist groups and they also show similarity in the fact that they were passed down by religious performers.