동래야류의 연행구조와 원리
Performative structure and principle of Dongnae Yaryu
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The current study aimed to investigate the performative structure and principle of Dongnae Yaryu , developed as a cultural heritage of the Busan, South Korea. Traditionally, the dance was performed without strong structural and sequential rules in civil society. Regarding the structure and sequence of the dance documented in this study, it starts with the fund raising in Dongnae jisinbapgi and have a tug-of-war game together. Then, the winner of tug-of-war leads the street performance in that evening which is followed by the Dongraehak Dance and the Dongrae Hanyang Dance. Throughout the current study, this study revealed the following per formative principles of the dance. First, the dance embraces and mixes the principle of live-together philosophy in a society and characteristics of individuals. Second, the dance also has a principle of three-dimensional expansion of spatial time, expanding the experience to a whole commun ity, throughout a communication between the performer and gallery It is expected to be used as a valuable research material that leads to creative succession at the performance site where actual transmission and preservation of Dongnae Yayu are mad.
Abstract
The current study aimed to investigate the performative structure and principle of Dongnae Yaryu , developed as a cultural heritage of the Busan, South Korea. Traditionally, the dance was performed without strong structural and sequential rules in civil society. Regarding the structure and sequence of the dance documented in this study, it starts with the fund raising in Dongnae jisinbapgi and have a tug-of-war game together. Then, the winner of tug-of-war leads the street performance in that evening which is followed by the Dongraehak Dance and the Dongrae Hanyang Dance. Throughout the current study, this study revealed the following per formative principles of the dance. First, the dance embraces and mixes the principle of live-together philosophy in a society and characteristics of individuals. Second, the dance also has a principle of three-dimensional expansion of spatial time, expanding the experience to a whole commun ity, throughout a communication between the performer and gallery It is expected to be used as a valuable research material that leads to creative succession at the performance site where actual transmission and preservation of Dongnae Yayu are mad.
참고문헌 (12)
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