학술논문
P’ansori as an Alternative to Existing Performer-Audience Relationships in Modern World Theatre
이용수 5
- 영문명
- 발행기관
- 아시아음악학회
- 저자명
- Kim IkDoo
- 간행물 정보
- 『Asian Musicology』Asian Musicology Vol.31, 116~138쪽, 전체 23쪽
- 주제분류
- 예술체육 > 음악학
- 파일형태
- 발행일자
- 2020.07.30
5,560원
구매일시로부터 72시간 이내에 다운로드 가능합니다.
이 학술논문 정보는 (주)교보문고와 각 발행기관 사이에 저작물 이용 계약이 체결된 것으로, 교보문고를 통해 제공되고 있습니다.
국문 초록
영문 초록
The purpose of this study is to examine major Western theatrical theorists in the 20th century that sought effective communication methods between performers and audiences, and to seek an alternative model in p ’ ansori, a traditional Korean storytelling performance designated as a Masterpiece of the Oral and Intangible Heritage of Humanity by UNESCO in 2003. It particularly investigates ch’uimsae, a special convention allowing “reactions” from the kosu, the drummer providing musical accompaniment for the p ’ ansori singer, and the audience. Ch ’ uimsae involves exclamations of encouragement that can even alter the mood of the entire performance. “One spectators/audience, two kosu, and three myŏngch’ang [one excellent audience, two excellent drummer, and three virtuoso singers].” This saying tells us that, without a good audience and kosu/drummer, skilled at ch’uimsae, a virtuoso singer’ s p’ansori cannot be completed. Spectators also play a role as the kosu ’ s avatars, since they independently perform ch ’ uimsae according to their own hearing of the performance. This study focuses on spectators’ ch’uimsae, which makes p’ansori more alive, improvisational, and interrelational. Representative theater theorists in the 20th century West tried for an equal and open relationship between performers and audience, but they did not successfully conventionalize the methods of interaction between the two parties. This paper re-examines the value of ch’uimsae in establishing such a relationship. It offers four principles of ch’uimsae: emptying-filling (fusion/exchanging sounds between the performer and the audience), viewpoint-fusing (spectators ’ intervention when the performer switches from narrator to character, and vice-versa), deliminalization (blurring/fusion the distinction between the narrator, characters and spectators), and mirroring(showing) and relating (spectators’ supporting the performer between narration and onstage action). These principles are a conventionalized system in p’ansori performance. Thus, it has value in the study of performer-audience relationships in theatre.
목차
키워드
해당간행물 수록 논문
- P’ansori as an Alternative to Existing Performer-Audience Relationships in Modern World Theatre
- under the Aspect of ‘Generation’ and Vocal Text
- Internationalen Ferienkursen für Neue Musik in Darmstadt as a platform of interest for composers from the People s Republic of China, Hong Kong and Taiwan. A historical trace.
- The characteristics of Thai popular singing During 1925 - 1967
- Asian Musicology Vol.31 목차
- Indo-mono musical works in modern Japan - a focus on Kazuo Yamada and Sadao Itō
- Existence of Orchestral Music Group in Java: since the Dutch East Indies to the Post-Independence (1950)
참고문헌
관련논문
예술체육 > 음악학분야 BEST
- AI 기반 음악교육에 대한 교육적 재음미 - 음악교사 역할에 관한 논의를 중심으로 -
- 2022 개정 교육과정 총론 방향(안)에 따른 새로운 음악과 교육과정 구성 방안 탐색
- 4차 산업혁명 시대 음악교육의 전망과 과제
예술체육 > 음악학분야 NEW
- 음악 교육과정 성취기준 관련 국내 연구 동향 고찰
- 융합기반 음악교육 프로그램 <사운드스케이프 디자인>의 효과성 및 의미 고찰
- Analysis of Music Education Research Trends for Film Music in South Korea
최근 이용한 논문
교보eBook 첫 방문을 환영 합니다!
신규가입 혜택 지급이 완료 되었습니다.
바로 사용 가능한 교보e캐시 1,000원 (유효기간 7일)
지금 바로 교보eBook의 다양한 콘텐츠를 이용해 보세요!