현대사회 탈놀이의 전승과 변화

Abstract

The Korean Talnori(mask dance) has achieved the current shape through the history of rupture, recovery and reconstruction, along with the transition of transmission environment. Different from previous Talnori(mask dance) performed at Sesi or a certain day, the forms of guest appearances or planned performances account for most of recent performance aspects. It is therefore difficult to carry out the whole process of performance, due to a limited time. Moreover, the time of performance is also limited. In addition, the range of places is not limited to specific regions, but extended to the whole country and audiences who enjoy it include not only members of communities but also the whole nation and the world. Such a transition derived from the transmission environment can be divided into internal and external factors. The former means transitions caused by members in Talnori(mask dance) transmission groups and include internal conflict, aging and delocalization, while the latter include changes in play circumstances, distrust derived from institutional improvement and loss of human resources. The recent transition of Talnori(mask dance) can be easily observed from performance contents as well as dance, music, etc. with strong tendency to actively communicate with audiences. Meanwhile, local Talnori(mask dance) whose transmission was ruptured has been actively recovered around Gyeongnam areas.