남해안 별신굿과 공연문화: 남해안 별신굿의 구조적 특징과 연행 요소

Abstract

This paper is based on the manuscript presented in the symposium <Byeolsinje (Village Ritual) and performance culture in Korea> of the Society of Korean Performance Art and Culture in May 2014. To coincide with the overall subject, comparison of the aspects of Byeolsinjes existing throughout the country focusing on performance art, the first half of this paper described the aspects of southern coastal Byeolsinguts in relation to the compositions of the entire guts (exorcism). Since the aspects of performance of southern coastal Byeolsinguts have been already studied, centering on ‘the elements of performance’, this study was intended to highlight those area that have not been addressed as elements of performance. When being composed, southern coastal Byeolsinguts were dualized into small guts and a large gut instead of the form in which performances of similar importance levels are arranged in parallel. This large gut is characterized by the fact that it is also shared by other Byeolsinguts and Oguisdaenamgut. In general, village guts are considered as cheerful village festivals and joyous plays of humans with gods. Southern coastal Byeolsinguts are characterized by the fact that each of them is a mixture of a Jaesugut and an Ogugut in a ratio of approximately 1:1. Traditionally, the performances of guts have been addressed in the frame of plays with songs, dances, and music. That is, the verbal performance and physical performance of the shaman have been the performance. However, in this study, things other than human were regarded as being cable of playing leading roles in ‘expressing symbolic meaning of guts’ and attention was paid to ‘material performances’ in addition to ‘human performances’. Shaman’s performance tools and gut foods fall under material performances. Although these do not move autonomously, they ‘express symbolic meanings of guts’ relying on the shaman’s body or by just being placed. In addition, elements that are not visible but participate in the performance were addressed under the name ‘invisible performance.’ Invisible performance means virtual time and space. Among others, since the holding of a gut in a village means the construction of virtual time and space, this author regarded that it should addressed in terms of performance.