민간연희의 존재방식과 그 생명력 : 동해안 별신굿의 거리굿을 중심으로

서지정보

· 발행기관 : 한국구비문학회
· 수록지 정보 : 구비문학연구 / 10호
· 저자명 : 신동흔

목차

1. 들어가는 말
2. 거리굿 자료와 그 짜임새
3. 거리굿의 연희미학과 그 ‘힘’
3.1. 제의 그리고 놀이
3.2. 이야기와 극 사이
3.3. 소통과 합일의 방식
4. 맺음 : 현장연희의 현재적 가능성

초록

한때 우리 전통연희에 대한 관심이 솟구쳐 오르던 시절이 있었다. 그 중심에 탈춤, 곧 가면극이 있었다. 탈춤의 계승 내지 민족극 수립을 위한 움직임은 문화운동의 전위를 차지하고 있었다. 활발한 학술적 논의가 그 행로를 함께 했었다.
그 시절로부터 불과 1,20년. 전통연희의 재창조라는 화두는 이미 철 지난 것으로 치부되고 있는 상황이다. 문화운동 차원의 움직임도, 학문적 연구 작업도 전날의 활력을 잃어버린 지 오래다.

영어초록

This study aims at analyzing how Korean traditional folk drama has survived and what the aesthetic characteristics are through “Keo-ri gut(거리굿)”, which is shaman drama performed in “Pyul-shin gut(별신굿; village exorcism)” at east coast, Korea. The “Keo-ri gut” has been spontaneously transmitted to the current society with a great deal of support of ordinary people. This study tries to figure out what the resource is to make the gut still alive.
From this study, I find that the “Keo-ri gut” has the very inner quality to survive until the current time period. The “Keo-ri gut” has realized the fun as well as significance as a ‘play/ritual’ which resolves pain and suffering of ordinary people who take part in the gut through wit and joy. The “Keo-ri gut” has got the dramatic effect by setting the place of performance as the place of the drama. In the “Keo-ri gut” everybody including the performer(shaman), spectators, and various spirits communicates very freely and comes to being together, which realizes the joy as a play and the significance as a ritual.
Self-devaluation by the performer, mocking of spectators, and the aesthetics of the inversion where the current social order is reversed function as achieving the unity beyond the barriers between people, and between the spirit and people. For this purpose, the narrative method in the performance is adopted, which results in heightening the joy of the play.
This aesthetics of the play has caused young students who just want to watch the “gut(굿, exorcism)” to participate in the play, which also results in making the “gut” not makeshift but natural. This is a clear example to show how the Korean traditional folk drama can survive beyond the limit of time and space.
In conclusion, this researcher can say that the aesthetics of the Korean traditional fork drama which the “Keo-ri gut” clearly shows can be fully applied to that of the present and the future.

참고자료

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