현대적 이야기판에서 설화 연행의 한 양상 - 음성, 표정, 동작, 청중을 중심으로

Abstract

This paper studies the Korean traditional children's stories which are performed by members of a volunteer organization. These performances have two levels. One consists of verbal factors and the other nonverbal factors. Most of communication studies and performance studies focus on the verbal factors but this paper focuses on the other factors, voices, expressions, actions of storytellers and audiences. The analysis of the performances has to consider not only verbal art but also non－verbal art. There are a lot of modern stages to tell folktales, of the performances is a library for children in Seoul. There are several volunteer organiza tions. Doggaebigamto[도깨비감투] is one of them. They tell Korean traditio nal children's stories. I research their voices, expressions, and gestures of storytellers and audiences, using a Jengganbo[井間譜], a Korean tradi tional music score. Goffman is known for stage metaphor to convey his thoughts about social interactions. According to Goffman, I divided the "front", the stage for storytelling and "backstage", the space for practice and rehearsal. On the front, storytellers tend to limit their dramatic voices and expressions but they make gestures more freely. On the backstage, they rank their ability to communicate. I can observe their ranking by determinating parts for Kamisiby(かみ－しばい [紙芝居]), the old Japan drama. They highly appreciate the ability to communicate continuously. They tend to orient a phatic performance rather than a referential performance. In the storytelling performances, the performan ce skill is important. The skill is relative with literacy. So I call the performance in the library for children literacy of the skill.