동아시아 가면극의 전승 현황 및 교류사 검토
The Status of Masked Drama Succession in East Asia and the History of Exchange
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Considering the fact that masked dramas in East Asian countries such as Korea, China, and Japan have a very similar development history, this study aimed to examine the similarities and uniqueness of masked dramas in East Asian countries, serve as a chance to respect the unique, incomparable values of masked dramas in Korea, China, and Japan, and provide grounds for the reevaluation of the reputation of Korean masked drama. It is expected that the findings of this study will be used as basic academic data for the study of Korean masked drama by organizing its artistic values. East Asian countries have formed similar cultures through exchange in history nevertheless moments of dissolved diplomatic ties, further developing them in their unique way with different given circumstances. This also applied to masked dramas. For example, from the aspect of shamanism and incantation, Noh in Japan and Nuo in China are related to masked drama in Korea. Also, in terms of the format, Tallori in Korea and Noh in Japan have similarities. As such, masked dramas in East Asian countries such as Korea, Japan, and China, have a very similar development history. While plays in East Asian countries are similar based on the common performance called Sanak and Baekhui, they have transformed, developed, and undergone re-creation in each country reflecting different situations and characteristics, evolving into the unique play cultures of what they are today.
Abstract
Considering the fact that masked dramas in East Asian countries such as Korea, China, and Japan have a very similar development history, this study aimed to examine the similarities and uniqueness of masked dramas in East Asian countries, serve as a chance to respect the unique, incomparable values of masked dramas in Korea, China, and Japan, and provide grounds for the reevaluation of the reputation of Korean masked drama. It is expected that the findings of this study will be used as basic academic data for the study of Korean masked drama by organizing its artistic values. East Asian countries have formed similar cultures through exchange in history nevertheless moments of dissolved diplomatic ties, further developing them in their unique way with different given circumstances. This also applied to masked dramas. For example, from the aspect of shamanism and incantation, Noh in Japan and Nuo in China are related to masked drama in Korea. Also, in terms of the format, Tallori in Korea and Noh in Japan have similarities. As such, masked dramas in East Asian countries such as Korea, Japan, and China, have a very similar development history. While plays in East Asian countries are similar based on the common performance called Sanak and Baekhui, they have transformed, developed, and undergone re-creation in each country reflecting different situations and characteristics, evolving into the unique play cultures of what they are today.
참고문헌 (9)
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