마당극의 공유 정신에 대한 비교 연구 -≪진동아굿≫과 ≪크리스토퍼 컬럼버스: 새로운 세계 질서≫를 대상으로-

Abstract

This paper is done to compare Jindonga-gut with Christopher Columbus: New World Order, noting the spirit of engagement appearing in the theatres, to define its characteristics in Madang-theatre. It is common that Jindonga-gut and Christopher Columbus: New World Order institute the audience as the subject of performance, but the way that their spirit of engagement present themselves in the performance is different. That is, both have the common feature in that they make audience feel that they are also one of the performance subjects, not that the performance doesn't belong to only the people in charge of performance. But Jindonga-gut draw the audience into the theatre in much stronger and more direct way than that of Christopher Columbus: New World Order The spirit of engagement in Jindonga-gut is functioned as the basis which can call the audience's attention to the issues of contemporary society. This feature of Jindonga-gut also appeared in the most of early Madang-theatre, which depended on the use of audience-actor and the consecutive structure of play. These features came from the people in charge of performance who wanted to change the audience immediately with the power of theatres and have the intention of reality reform. In the many examples from Nanjangtgi, the audience's dancing and singing together with the people in charge of performance to the severe demonstration, the audience presented themselves in the action, interpreting the people's intention in charge of performance in their own way, though their intensity of expression are various. Whenever the Madang-theatre performs, the secondary performance follows the main performance. This feature shows the spirit of engagement in the Madang-theatre which regards audience as another subject of performance.