한국 탈놀이의 융복합문화적 성격

Abstract

Traditional Korean mask play consists of the monk section, the squire section and the hag section. These three sections were not formed at the same time but each one gradually evolved over time and in that order. However, there is an underlying order that connects these three sections. The monk section shows how the world is divided in to the world of transcendence and the world of reality. On the other hand, the squire section shows a division that exists in the world of reality--a division between the ruling class and the ruled. Finally, the hag section shows how the ruled class is further divided into husband and wife. There is a common factor in the conflicts that exist the three sections. It is the triumph of youth over old age. That is, the three sections are in common in describing how the old world gives a way to the new world as the old world fades away. Traditional Korean mask play proceeds as it alternates between dance and jaedam (comic talk). Dance makes audiences become engrossed in the play while jaedam provides a comic relief. The monk section consists mostly of dance. The squire sections consists of dance and jaedam in equal share. The hag section consists mostly of jaedam. Accordingly, different production styles are used for each of three section. The monk section is similar to the theater of cruelty of Artaud; the squire section, the epic theatre of Brecht; and the hag section, realism theater. Traditional Korean mask play consists of various elements in convergence. It is the unique characteristic of Korean culture where different elements converge as each element loses some of their unique properties to create a new world in harmony. In traditional Korean mask play, a single actor does both dancing and jaedam. However, Japanese produced separately no能 and kyogen狂言.