사원예능 엔넨(延年) 무대에서 지우타이(地謠)의 위치와 발생

Abstract

The purpose of this thesis is the analysis of the origin and role of Jiutai(chorus) in the Yennen stage. This study needed to take theoretical approaches to the questions about the origin of Jiutai and when It begin to intervene in Noh in some aspects. First, I tried to find some clues to the appearance of Jiutai through the Yennen stage in relation to the role and position of it in Noh stage in the view of stage history. Yennen is generally performed in Sikibutai, the stage in the garden although it is sometimes performed in the yard. On the Yennen play, the position of Jiutai is sometimes under the stage and by not Waki but Hashigakari. I examined the origin history of Jiutai including the fact and the structure and characteristic of Yennen inclusively. Secondly, Jeami tells about Sandou which consists of Shu and Saku and Sho in his Noh dramaturgy. Shu means theme, and Saku means Structure, and Sho means words and music. If so, It is believed that he keep Jiutai in mind when he writes Noh text. So, I examined the mentions about Jiutai in his Noshakusho, Noh’s dramaturgy. Thirdly, I examined the function and role of Jiutai through Izutsu and Kiyotsne, Jeami’s major works. There is Jiutai position in Yennen stage history and the role of Jiutai which intervene between Site and Waki from the beginning of their conversation has a distinctive structure in relation to the structure of Noh. On stage, Noh looks like a one-man play because Site and Waki speak words in each of their own position and the distance between them is far. The main character in every Noh text is Site who pass the Hashigakari bridge(a bridge that connects stage and dressing room, and also functions as an extension of the stage) between this life and eternity. Sharing spiritual communion with Site, Jiutai explains the event which is the key point of Site’s inner story hidden by his mask. Jiutai also take a role as a spokesman for Site and Waki as in a service for the repose of the deceased. In the part of ending, Site dances Mai and Jiutai speaks for Site by singing Utai in poetic words with sensitive voice which recall the emotion and fate of Site and console the spirit of the deceased and expressed the Subject of Noh, saving the poor soul. Thus, the stage looks more profoundly and three-dimensional. In the conversation between a musician and the other in the Korean Beompae or In the conversation between Shaman and musician, or in the conversation between Sanbadi and Daejabi in Korean Kokdugaksi puppet show, Sanbadi or musician intervene in the play. But the way of keeping dramatic tension in Jiutai is different from in Korean play. Korean calls temple play like Yennen Sanhwoihwang. But Sanhwoihwang isn’t passed down nowadays. We should consider the existence of Jiutai when we restore Sanhwoihwang.