2010년 이후 처용무 공연 현황과 양상 분석

Abstract

The purpose of this study is to examine the recent performance aspects of Cheoyongmu, a national intangible cultural asset, analyze the perform- ance activities of Cheoyongmu for sustainable development and growth in the future, and seek ways to utilize it.The study period was from 2010, when Cheoyongmu was registered as a UNESCO Intangible Heritage of Humanity, to the present. For this, Cheoyong Dance Preservation Society, the National Gugak Center, the National Intangible Cultural Heritage Center, and private or- ganizations analyzed performance activities across the country and diag- nosed the aspects of each type of performance to find a basic plan for the continuous development of sustainable performance. As a result of the analysis, it was possible to organize the performance of Cheoyong dance over the past 10 years into three performance aspects: transmission of the original form, modern recreation, and cultural content through tech- nological convergence. First, there were many performances aimed at preserving the original form of the dance in order to transmit the original form. In particular, the Cheoyongmu Preservation Society attempted to change the original form of Cheoyongmu into one-person, two-person, and five-person dances, but there were not many new creative attempts. This may be because the Cheoyongmu Preservation Society has an obli- gation to preserve intangible cultural assets without damage despite changes in the times. Meanwhile, in the National Gugak Center's Saturday luxury perform- ances or special performances, the story of the work is changed by com-bining it with various other traditional dances or using field instruments. Efforts should continue to be made to show changes through various attempts, such as creating a three-dimensional space by creating a har- monious and participatory stage rather than the feeling of watching a staged tradition from the existing audience seat. In addition, in terms of modern re-creation, we are continuing our creative work through collabo- ration with various genres based on the various themes of Cheoyongmu. In particular, around 2010, work on new reproductions based on past Cheoyongmu literature and paintings was actively carried out. Also non-face-to-face performances have increased during the COVID-19 period, and attempts at convergence with technology are also advancing. Therefore, as the rapidly developing Korean trend and the object of in- terest are different, there is a need for an upgrade in a new direction in composing Cheoyongmu performance by mutual communication and also need continuing education by the choreographic ac tivities of those who have completed the dance and are being passed down at the Cheoyong Dance Preservation Society. Meanwhile, in order to preserve the original form and record the suc- cession process, archiving should be done to record and film Cheoyongmu for each performance.