가면극 전승사에 대한 반성적 고찰 -18세기에서 20세기 중심으로-

Abstract

This paper aims to reflect on the history of the transmission of mask drama from the eighteenth to the twentieth century. It contains a desire to rewrite the history of mask performance from the late Joseon period to the present day, while critically reviewing the research on mask performance history by Cho Dong-il and Chae Hee-wan. The period of modern history of mask performance can be divided into the late Joseon period, Japanese colonial rule, and post-liberation period, and these periods were discussed in the text. The following is a summary of the results. Regarding the revolutionary aspect of mask performance that occurred during the transition from rural to urban dance in the eighteenth century, particularly during the late Joseon period, it is necessary to move away from the framework of viewing it only as part of “popular” culture. The perspective of this discussion, also known as “people principle,” creates various limitations. In particular, if the substance of the clown organization, which has lasted for over five hundred years, is recognized, one cannot help but consider the role of the organization and its relationship with upper-class culture. When the substance and role of the clown organization are recognized, it is possible to discover the aspect of independence in mask performances during the late Joseon period and national events, which can be described as the decline of medieval vertical order and the creation and entry of modern horizontal order. This is a new aspect and value of mask performance history in the late Joseon period that could not be found in the previous restricted transmission of popular culture. It is a common belief that the flow of mask performance during the Japanese colonial period was suppressed and cut off. However, the aspect of mask performance during the Japanese colonial period was not so simple. Discussion on the complex aspect of mask performance during the Japanese colonial period became possible only after literature and material excavation. It is necessary to widen and carefully study the subject matter, not only considering the macroscopic framework of empire and colony but also considering the desires of individuals, regional and nationwide aspects, and the emergence of experts or planners. It is also necessary to have a different perspective. When we are liberated from simplistic and stereotypical prejudices, we can have another perspective. At least as far as the research results so far are concerned, the narrative of suppression and discontinuity of transmission is cracked. Since liberation, the center of the traditional Korean mask drama has been the preservation of the original tradition, which has naturally been the most noteworthy. This "preservation-oriented tradition" is the crystallization of the movement to create a unique national identity in a country that has experienced colonialism. This is evidenced by the trend of transmission through the intangible cultural heritage system. However, what we need to pay more attention to is another dimension of the tradition. We need to focus on the transmission of mask drama led by university students, which is not easily found even on a global scale, in addition to other intangible cultural assets. It is necessary to highlight the fact that this type of tradition, which was not at the center of the discussion on transmission and existed only informally or in certain areas, is worthy of attention because of its uniqueness and value. Through this discussion, I have concluded that we need to recognize the new aspects of revolutionary transformation that have appeared in the mask drama tradition of the late Joseon period, overcome the narrative of oppression and disconnection during the Japanese colonial period, and pay attention to the revolutionary aspects of the mask drama tradition that were not previously highlighted after liberation. By concretizing these claims, I believe that we can rewrite the modern history of mask drama.