서사무가와 판소리의 상관성

• 영문명: Correlation between Seosa Muga and Pansori -With focus on Seosa Muga prevalent in Cholabuk-do area
• 발행기관: 한국언어문학회
• 저자명: 이영금(Lee, Young-Geum)
• 간행물 정보: 『한국언어문학』韓國言語文學 第78輯, 195~232쪽, 전체 38쪽
• 주제분류: 어문학 > 한국어와문학
• 파일형태: PDF
• 발행일자: 2011.09.30

영문 초록

Various Seosa Mugas including Chilseong Puri, Jaeseok Puri, Ogusewang Puri, Jangja Puri, Bongjangchun Puri have been handed down in Cholabuk-do area and their narratives are relatively well organized. On the other hand, sanctity contained in Seosa Muga played around this area has pretty much weakened while their stories are rather tinged with tropological lessons. Singers of Pansori were those from troupes of hereditary dances and most of them also played musical instruments for shaman rites. This lets us logically conclude that singers of Pansori had good understanding of the narratives performed at shaman rites and principles of the performance. Seosa Muga and Pansori prevalent in Cholabuk-do area have in common similar narrative structures in which characters suffering from tragic fate are eventually brought to a happy end through adversity. Narrative texts of Seosa Muga and Pansori have lots of inherent episodic components and ritual phrases. Judging from the similarity of the songs and ritual phrases contained in Pansori and Seosa Muga, we can say that Pansori is a narrative text utilizing wordings of Seosa Muga created by virtue of shaman rites. These narrative texts are structured, like performance of ‘Shinmyeong Puri’, such that they can let deep resentment harbored in your heart go and draw out healthy deific power. This is to say that Seosa Muga and Pansori portray figures suffering from resentment harbored deep in their hearts and heal it through sobbing, laughing and playing. With these methods repeated and accumulated over time, the resentment harbored by the characters melts away and eventually healthy deific power manifests itself. The vocalism and tunes used in performance of Seosa Muga and Pansori are what arouses sobbing, laughing and playing. Such musical characteristics arousing us to sob, laugh and play suggest that Seosa Muga and Pansori are works performed for the purpose of loosening up our inherent desire and allowing us to have real fun as much as we please.

목차

1. 서론

2. 판소리 창자와 서사무가와의 관계

3. 서사 텍스트의 구성 원리

4. 공연 텍스트의 신명풀이 구조

5. 결론

〈참고문헌〉

[Abstract]

키워드

서사 무가 판소리 전라북도 서사 구조 공연 신명 풀이 Seosa Muga Pansori Cholabuk-do narrative structures performance Shinmyeong Puri