구술전통과 고전극의 서사적 유대

Abstract

World performing arts can lead a trend of the world culture in accordance with how it borrows and uses various traditional cultures. In spite of this, it is a reality that we have not been researching the East Asian oral tradition in perspective of the theatre studies or the performance studies. We have been limited to a framework of literary and historical studies though we have accumulated vast amounts of researches in the area of East Asian traditional narratology. Classical narratology focuses on intrerpretting texts in a point of the humanities and inducing useful theories to help to create new texts rather than creating itself. However, since 1990s storytelling passes over just a level of telling and listening unlike its past in that it uses cutting-edge technologies of digital medium. Studies on contents and forms of oral tradition and oral literature are understandings to bonding relation between forming of past traditional societies and their communicative ways. It may be considered natural that various characteristics of East Asian oral traditions in the genre, and their performance customs went to classical dramas showing similar narrative system. A storyteller delivers events outside of a story in the point of a speaker, sometimes become characters, and takes roles of multi-characters by himself speaking out directions. A role of chorus as unspecified multitude not participating the actions of a drama, and an oral tradition of a performer doing multi-roles have similar functions. It is the power of the language that the oral tradition fascinates the audience. Poetic language of chorus being involved in the middle of conversation lead the audience in the roles of mediator and representer saying the inner world of characters. The Nanxi(南戲) of bangqiang(幇腔) and Noh of Jitai(地謠) in East Asian traditional dramas and the chorus in the ancient Greek plays are similar drama style. However, there are almost none studying on narrative bonding between the oral tradition, and the Chinese and Japanese traditional chorus. Therefore, the study explains roles of chorus in Chinese and Japanese traditional dramas, and especially focuses on narrative bonding comparing self-introduction technique in the beginning of dramas and speaker’s description technique. I argue that we need to pay attention to understand bonding relation between oral traditions and traditional dramas in terms of narrative technique, and apply them to writing and speaking education in storytelling hereafter.