<꼭두각시놀음> 변용 사례 연구 - 심우성 본 <꼭두각시놀음>과 김학수 본 <돌아온 박첨지>의 비교를 중심으로

Abstract

The appeal of the <Returned Park Chomji> is roughly divided into visual and audio cues. First, visual elements are a traditional elegance realized by parades put on by the Pyongyang governor, the cheerfulness of puppets which turn buna or do Ssamulnori, Hongdongji's grotesque appearance or peeing. The audio elements are the Samulnori beat, the puppet's songs and funny words used. Thus, <Returned Park Chomji> was welcomed by the populace as it refined the stage further and made efforts to make puppets while emphasizing the playfulness of <Puppet Play>. However, it was weak in counter discourse which was considered a representative aesthetic sense in <Puppet Play>. The pheasant hunting of the Pyongyang governor in <Puppet Play> was very strong as counter discourse. The position of the Pyangyang governor was very high, but he was ridiculed by the words of Hong Dongji or Park Chomji without restraint. However, the <Returned Park Chomji> is limited to parodying the sexual molestation of Yoon Chang-Jung or was not as harsh in parody as <Puppet Play> even when it dealt with national issues such as the Sewolho Ferry Accident. This is because the subjects of the two plays had different status and aesthetic senses. Supposing this is so, if the goal of the performance is to pass down < Puppet Play> properly, it is a difference to overcome. However, this play shows off its own elegance and taste while sticking to the scenes and characters of a traditional puppet play. It is believed that it has inherited the aesthetic sense of <Puppet Play> and the subjects the performance have tried to communicate with the audience. It is expected that the status of our traditional play which was relegated to an outer area will be raised through such effort.