동아시아 스토리텔링의 구조와 장르적 특성 -서사연행의 구조와 고전극의 유기적 관계를 중심으로-

Abstract

In this paper I wanted to expand the discussion about the natureof the performing arts in East Asia to the form of puppet plays andclassical dramas and it has a significant place to open up thepossibility to contribute to the academic value of Pansori and itsnew genre. In the aspect of the common feature of performing artsand classic poetry sharing in origin, it is a very interesting factthat the delivery method of epic tale combined prose and verseaffects not only puppet plays but also from classical dramas tocontemporary theater. The historical origin of Xiangsheng[相聲] has been handed downin China traced back to Uhuhee(優戲) in Pre-Qin[先秦]period,which had a tradition of satirical art. There are Zhouhee(調戱) inGoryeo Dynasty and Uhuhee(優戲) in Choseon Dynasty in thehistorical records of Korean storytellers. I noted about the errorclassifying Sohakjihee(笑謔之戲) in Choseon Dynasty as Jaedam(才談) and Hwaguk(話劇). Privilege of remonstration(諫言) given toPaiyou[俳優] through the medium of art has led to the tradition ofsocial criticism and comic. Shuohuaren[說話人, storyteller] were active in the commercialspace Goulan[句欄]the city of Song Dynasty. Shuo[說] of shuohua[說話] means 'tell' and hua[話] means 'story'. Storytellers werereferred to as shegeng(舌耕) because they make a living by theirgift of gab. Gonganxiaoshuo[公案小說] in Song Dynasty dealt witha lot of criticism for corrupt officials to trial in civil lawsuit. Andyet it emphasized the image of Baogong[包公] the wise official. I explored the genre nature and structure of the Gongansoseol(公案小說) and I confirm how the format of narrative which redeemthe disadvantage of colloquial prose closely related between fromHuaben(話本) in Song Dynasty to Zaju(雜劇) in Yuan dynastythrough 『Cuo Zhan Cui Ning [錯斬崔寧]』 the representativeGongansoseol(公案小說) in Song Dynasty and Hui lan ji (灰欄記)the famous Bao-gong an ju(包公案剧) in 13th centry YuanDynasty. In Dunhuang[敦煌] Bienwen[變文] of Tang Dynasty Ruhua[入話],Bengushi[本故事] and the basic form of the large framework of thefinal stage Shanchangsi[散場詩] had inherited to Ruhua in the SongDynasty's Hwabon[話本] Xiezi[楔子] in the Yuan Dynasty's Zaju[雜劇]. Lyric and narrative techniques and cliches which can becalled storytellers' performing device showed that the genrecharacteristics and performing style of Gonganxiaoshuo. I suggestthat these storyteller's performing style developed Zaju in YuanDynasty and Ming Dynasty. Japan's famous national epic HeikeMonogatari[平家物語] is a warchronicle. It has various different versions over 70 types becauseit's origin was Heigyoku[平曲]. It would be a way to explain therelationship between Japanese modern classical dramas andnarrative tradition to delve into how the narrative features ofJoruri[淨瑠璃]were accepted in Sanningtskai[三人遣い: Three dollscoordinator's NingyoJoruri[人形淨琉璃] and Gabuki[歌舞伎]. Therefore, extending the research area of the heritage of theEast storyteller from old clown to the oral narrative performingstyle's influence to puppet plays and classical drams is to increasethe academic value of Pansori performance of the previousChanggeuk(唱劇).