땅재주의 역사적 전개와 연희양상

Abstract

This article paper on how Ttangjaeju(acrobatic feat tumbling), one of the items in Sanakbaekhui (a set performances encompassing acrobatics, masque plays, dance and puppet plays), has been developed historically and how it has been performed. Having been a universal performance culture of East Asia in the past, different types of Sanakbaekhui seen in East Asian countries influenced each other and were recreated on the basis of their own cultures. Ttangjaeju in Korea and China which this paper intends to discuss also went through the phase of localization, making a development in a similar, but different direction. Chinese Ttangjaeju was developed from the initial stage of Geundu(somersault) in the Warring States Period into two directions in Han Dynasty: One of them is Geundu, later developing into somersaults similar to Korea's; and the other is Geundu, differentiated into Hyeongchegigyo (physical performance) in Han Dynasty, which was later developed into independent performing arts such as Oan(hand-standing on five tables vertically piled up) and Yusul(performance showing flexibility of one's body). Chinese Ttangjaeju, however, is different from Korean in that its accomplishment was confined only to performing arts, while Korean Ttangjaeju was combined with Wuhui(farce), forming Jaedam(witty talks; joke performance) and being performed along with clowns. Nevertheless, there seemingly were continuous performance exchanges between Korean and Chinese Ttangjaeju, mainly through official performances of Ttangjaeju as in receptions of envoys. Such exchanges not only helped develop performing arts but also contributed to active performance exchanges between Seoul and provincial areas, as many local performers were temporarily transferred to performances in the capital, and later went back to provincial areas. These "Ttangjaeju performers" also had a significant influence on Ttangjaeju arts of wandering performers.