〈변강쇠가〉의 가면극 수용 양상과 연희사적 의미

• 영문명: Adoption of Mask dances in Byungangsheiga and its Significance in Theatre History
• 발행기관: 어문연구학회
• 저자명: 사성구(Sung-gu Sa) 사진실(Jin-shil Sa)
• 간행물 정보: 『어문연구』語文硏究 第55輯, 261~289쪽, 전체 29쪽
• 주제분류: 어문학 > 한국어와문학
• 파일형태: PDF
• 발행일자: 2007.12.30

영문 초록

  Byungangsheiga(변강쇠가) is known as a work of Pansori(판소리), which is the famous performing art of narratives and songs woven into the fascinating stories. Nowadays, unfortunately, Byungangsheiga has no performance texts including songs, but only five works of Pansori, that is, Chunhyangga(춘향가), Shimchungga(심청가), Heungboga(흥보가), Sugungga (수궁가), Jugbyugga(적벽가) keep their entire performance texts.
  Shin Jae Hyo(申在孝), a famous patron of Pansori chose and adapted six works including Byungangsheiga and five works from twelve works of Pansori in circulation until mid 19th century. Why Byungangsheiga has lost its performance? The factors of continuation and extinction regarding Byungangsheiga has important keys to understand the history of Pansori.
  Byungangsheiga is said to have unique contents, grotesque aesthetics, and unexampled characters as comparing with the other five works. In the previous studies, the main characters" identities, social status, and the social meaning of their sexual matters were explored in the viewpoint of social history. And also, ritual structures and mythical connotations were discovered to understand its characteristics.
  However, it could not be said to examine completely the cause of Byungangsheiga"s extinction. In this article the process of rise and fall of Byungangsheiga is explored focussed on the relationship between Byungangsheiga and mask dances which have the distinct ritual and mythical structures as well as the significance of social history.
  Pansori and mask dances had developed on the basis of folk arts, and became the professional performing arts so that they could get the commercial values. The actors of Pansori and mask dances generally formed troupes and made tours for entertainments and performances. Sometimes their tour was obligated to attend royal banquets and processions, and entertainments. In the course of their tours, the troupes seem to have exchanged various repertoires including Pansori and mask dances. Actually the same or similar passages and characters are found in their performance texts.
  Similarities between Byungangsheiga and mask dances are explored in the three categories; (1)plot development, (2)character making, (3)conflict structures. Several specific plot and episodes are found in two texts, for example, "meeting after wandering", "immediately making love after meeting", and "punishment after taboo violation". In mask dances the punishment is not so much severe, and they are reconciled with their antagonists, while in Byungangsheiga the punishment is so severe that they would face death and tragic ending.
  The main characters, Gangshei and Ongnyo are very odd and unexampled, but some characters are very similar with those from mask dances. Especially Debdeugi is almost the same as Malddugi from mask dance Bongsantalchum. They both are grooms and bear the character of libertine. The appearance of old depraved monk is also meaningful in the character making.
  The conflict structures are usually involved in sexual affairs and jealousy which were not found in the other Pansori works, but found in mask dances. Abnormal attachment and jealousy lead to taboo violation and punishment. In the ending part of Byungangsheiga, the people heal the breach collectively, which can be found easily in mask dances.
  In conclusion, Byungangsheiga can be said to adopt effective elements of mask dances like episodes, characters, and structures, which help show extreme features of the strange story. Such an adoption seems to have been in need for an audience value. However, open structures borrowedfrom mask dances could be considered as imperfect ones for the audience  who would admire the narrative of Pansori. As a result, Byungangsheiga is said to have has the audience leave and t

목차

1. 서론
2. 판소리와 가면극의 교섭 양상
3. 〈변강쇠가〉의 가면극 수용 양상
4. 〈변강쇠가〉의 연희사적 의미
5. 결론
참고문헌
Abstract

키워드

Pansori Byungangsheiga Mask dance Plot development Character making Conflict structure