<서산 박첨지 놀이> 연구

서지정보

ㆍ발행기관 : 한국구비문학회 ㆍ수록지정보 : 구비문학연구
ㆍ저자명 : 허용호

목차

1. 머리말
2. 전승유래와 연행 상황의 변천
3. 연행 방식
4. 연행 내용
5. 맺음말

한국어 초록

<서산 박첨지 놀이>는 우리 나라 인형극 연구에 있어서 중요한 위치를 차지한다. <서산 박첨지 놀이>를 학계에 처음 소개한 서연호는, “현존하는 유일한 남사당패의 꼭두각시와 더불어 향인 연희패로서 서산 박첨지가 살아있다는 것은 우리 인형 놀이 연구의 귀중한 자료가 아닐 수 없다.”고 말한다. 이 언급은 <서산 박첨지 놀이>가 갖는 ‘현존하는 토박이 광대패 놀이로서의 가치’를 높이 산 것이다. 이러한 중요성은 임재해에 의해서도 거듭 피력이 된다. 그는 <서산 박첨지 놀이>가 토박이 광대에 의해서 전승된 연행의 하나로서, 이제 “우리는 꼭두각시놀음이 남사당패에 의해서만 전승되고 있다는 의식에서 해방”되어야 할 필연성을 제시해 주고 있다고 말한다.

영어 초록

The purpose of this study is mainly related to two subjects. One is concretly to investigate Seosan Parkchumji Nori(서산 박첨지 놀이). The other is to investigate puppetry feature of Seosan Parkchumji Nori, through comparative of Kukdoogaksi Noleum(꼭두각시놀음).
For the this purpose, this study is to investigate transmission origin and change of performing context, performing method, performing contents. The result of this investigation, we confirm that Seosan Parkchumji Nori is lively to transmit and still to perform under natural situation. And we confirm concrete performing features that differ from Kukdoogaksi Noleum in many way. Let's rearrange the above argument briefly.
From the latter half of 1920's Seosan Parkchumji Nori have transmitted by village people who live in Tapgugri 4gu, Eumammen, Seosansi, Chungchungnamdo(충청남도 서산시 음암면 탑곡리 4구). Through village people's active and voluntary transmit effort, the performance is lively maintain up to now. At first, Seosan Parkchumji Nori performance is to offer a field of festival. After this, the performance is gradually to change as the pride of village or a representative symbol of village.
Through investigation of transmit origin, we acknowledge that Seosan Parkchumji Nori is introduced from the outside. But Seosan Parkchumji Nori does not follow the outside performance. Rather Seosan Parkchumji Nori performers have developed unique performing method and contents.
‘Voice play of one man one role’, ‘employment of Seosan dialect', ‘as a index of situation change, use of song Teru Terua Teruya(떼루 떼루 떼루야)’, ‘unique puppetry of opening blind man's eyes’, and ‘characteristic movement of speaking puppet’ are characteristic performing methods of Seosan Parkchumji Nori's own.
Performing contents also have unique features. The subject of male's rudeness critique is further intensified. The subjects of critique are other characters who constitute family as well as first wife. Not to mention Parkchumji's first wife(박첨지 큰마누라), Parkchumji' younger brother(박첨지 동생), wife's brother Myngno(박첨지 처남 명노) are altogrther to criticize Parkchumji(박첨지). The critique of the powerful classes in society is futher exact. Pyngyang Gamsa(평양감사) who bothers the people is exactly satirized. The critique of ideal falsehood which is expressed through conflict between a religious man/woman and secular man/woman is very uniquely unfolded. First, Buddhist priest's distinction of sex is female. It is peculiar property of Serosa Parkchumji Nori. And the development of contents is aim at affirmative thought of Buddhism or Buddhistic miracle. The contents development that blind man whose sight is to lose because of Pyngyang Gamsa is to open eyes through Buddhist mass express Buddhistic wish-fulfil of the suffering people.
Through above argument, we confirm concrete entity of Serosan Parkchumji Nori. Which is differ from performer, performing method and contents of Kukdoogaksi Noleum. Therefore Serosan Parkchumji Nori takes up a unique position of the folk puppet play.

참고 자료

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