중국 전통극에 수용된 雜技와 武術 -그 표현 양상에 대한 역사적 고찰

Abstract

I studied on the phase of 'Jaji(雜技)' and 'Wushu(武術)' shown in various genres of traditional play. As a result, I can find out five phases of 'Jaji' and 'Wushu' as follow. ① 'Jaji' and 'Wushu' in 'Baixi(百戱)' : Performers had a first chance to unite many types of performances in this stage. But 'Jaji' and 'Wushu' were independent components in 'Baixi' at that time. ② 'Jaji' and 'Wushu' in Ritual Play or 'Gewuxi(歌舞戱)' : 'Jaji' and 'Wushu' were accepted as a part of play for the first time. But there were no fixed forms for show of 'Jaji' and 'Wushu' yet. It's hard to say that the relationship between 'Jaji' or 'Wushu' and the development of plot was assimilated entirely. ③ 'Jaji' and 'Wushu' in 'Beiijaju(北雜劇)' : Rules of performance for 'Jaji' and 'Wushu' were appeared. So it is not wrong to say that 'Jaji' and 'Wushu' became a part of 'Beiijaju' performance. ④ 'Jaji' and 'Wushu' in 'Nanxi(南戱)' or 'Chuanqi(傳奇)' : It was appeared that many independent play sections for 'Jaji' and 'Wushu' in 'Nanxi' or 'Chuanqi'. ⑤ 'Jaji' and 'Wushu' in 'Jingju(京劇)' or 'Difangxi(地方戱)' : It became a major target in performance to show 'Jaji' or 'Wushu' in lots of 'Jingju' or 'Difangxi'. And the system of 'Jiaose-Hangdang(脚色-行當)' in contemporary 'Jingju' or 'Difangxi' has a close connection with this change. After all, from the viewpoint of performance history, I can say that the phase of 'Jaji' and 'Wushu' shown in various genres of traditional play is a process from 'Jaji' and 'Wushu' which have no connected with play to play for 'Jaji' and 'Wushu'.