인도 마살라 영화의 특징 분석 -<춤추는 무뚜 Muthu>를 중심으로- (A Study of the Masala Film of India -Analyzed Through a Reading of Dancing Muthu-)

서지정보

· 발행기관 : 한국영화학회
· 수록지 정보 : 영화연구 / 37호 / 143 ~ 173페이지
· 저자명 : 민병록

초록

In present study, features of the motion picture Masala is analyzed through a reading of Dancing Muthu. First, the foundation for Masala as a movie can be found within the film history of Tamil, Southern India. The first Indian talkie movie is Alam Ara of Bombay, directed by Ardeshir Irani. In the text of this movie, 10 songs are inserted in the Hindi language, reenforced by copious dancing. This is an influence by the traditional South Indian theatre, in which acting, music, and dance are all combined into one. Indian films which have developed from traditional Indian theatres have become musicals. Moreover, this film is advertised as featuring 'everyone talking, singing, and dancing,' which is nothing other than the most important characteristic in modern Indian films. The reason for its success lies in its richness of contents, featuring singing, dancing, and many popular songs as a part of everyday lives in the traditional Indian folk culture, which was able to absorb even the audience from other language areas.
Second, the principles for features of traditional theatre in India is found in Natya Shastra (a text for dance, theatre, and music). This book is said to have been written by guru Barata and is acclaimed as the best commentary on Indian Arts known today. In fact, traditional dancing in India, which originates from Southern India, is called Bharata Natyam, named after the title of this book and its author. Natya Shastra has been compiled around 2 A D and is often nicknamed the "Fifth Veda." The book teaches that all types of art were created by God and were first used for God's own enjoyment. But then they were handed down to entertain all mankind, including the lowly Sudra. The Sudras were even permitted to dance, who were normally forbidden to even hear or recite Veda literature. This allowed them to approach God through their bodily gestures and devotional singing.
Natya designates both 'dance' and 'theatre' in Sanskrit language. In fact, most traditional Indian classical dancing employ elaborate 'hand gestures' and 'body movements' as if they would use language, This is a highly stylized theatrical representation, designed to deliver traditional epic tales. Among such bodily language, Natya Shastra provides 36 detailed instructions for moving one's eyes, eye-lids, and brows, and no less than 22 types of descriptions for head and neck postures. With time these have haven been expanded into more than several hundred types.
This implies that acquiring skills in traditional Indian dancing requires many years of practice. Like in western ballet, many young and talented Indians today are continuously willing to learn their traditional dance. These young people usually have jobs related to singing, dancing, and acting, and are in fact the very providers of entertainment for the entire nation. They would usually perform in the middle of the night, out in the fields and some of the exceptionally accomplished men and women would be allowed to perform in court.
Third, the techniques for emotional and facial expression have roots in the numerous Rasas and Bhavas found in Indian arts tradition. Natya Shastra lists four basic rasas; love, heroism, passion, and despise. There are than further divided into 9 important types of rasas; love, courage, joy, hate, rage, compassion, fear, alarm, and spiritual peace. Each rasa incorporates a number of Bhavas. A Bhava is expressed in various ways according to the time of day, state of health, climate, and other factors in life. The number of Bhavas in a rasa may be as little as three to as many as 49. Meena, who took the role of Ganga in the film, states in an interview that an Indian actor can not perform the multiple facial expressions required in a movie without acquiring fundamental skills in traditional rasas.
Fourth is class distinction by the Caste system. According to Caste, Brahman are poets and priests, Kshatrya, the royal family, Bysha, the merchants and farmers, and Sudra, the slaves and lowly workers. What is interesting about Indian film stars, compared to Hollywood celebrities, is that they are relatively plump. Rajnikanth who acted as Mutu, the most popular super star in India today, is chubby and has the looks of an ordinary Indian guy next door. One can notice Meena, as Ganga, shaking her love handles on screen. But the Indian audience regard broadness in physicality as signs of abundance, high-class, and nobility. The background for such aesthetics lies in the traditional Caste system which, throughout the long Indian history, has created respect and submission from the commoners to aristocratic rulers.

영어초록

In present study, features of the motion picture Masala is analyzed through a reading of Dancing Muthu. First, the foundation for Masala as a movie can be found within the film history of Tamil, Southern India. The first Indian talkie movie is Alam Ara of Bombay, directed by Ardeshir Irani. In the text of this movie, 10 songs are inserted in the Hindi language, reenforced by copious dancing. This is an influence by the traditional South Indian theatre, in which acting, music, and dance are all combined into one. Indian films which have developed from traditional Indian theatres have become musicals. Moreover, this film is advertised as featuring 'everyone talking, singing, and dancing,' which is nothing other than the most important characteristic in modern Indian films. The reason for its success lies in its richness of contents, featuring singing, dancing, and many popular songs as a part of everyday lives in the traditional Indian folk culture, which was able to absorb even the audience from other language areas.
Second, the principles for features of traditional theatre in India is found in Natya Shastra (a text for dance, theatre, and music). This book is said to have been written by guru Barata and is acclaimed as the best commentary on Indian Arts known today. In fact, traditional dancing in India, which originates from Southern India, is called Bharata Natyam, named after the title of this book and its author. Natya Shastra has been compiled around 2 A D and is often nicknamed the "Fifth Veda." The book teaches that all types of art were created by God and were first used for God's own enjoyment. But then they were handed down to entertain all mankind, including the lowly Sudra. The Sudras were even permitted to dance, who were normally forbidden to even hear or recite Veda literature. This allowed them to approach God through their bodily gestures and devotional singing.
Natya designates both 'dance' and 'theatre' in Sanskrit language. In fact, most traditional Indian classical dancing employ elaborate 'hand gestures' and 'body movements' as if they would use language, This is a highly stylized theatrical representation, designed to deliver traditional epic tales. Among such bodily language, Natya Shastra provides 36 detailed instructions for moving one's eyes, eye-lids, and brows, and no less than 22 types of descriptions for head and neck postures. With time these have haven been expanded into more than several hundred types.
This implies that acquiring skills in traditional Indian dancing requires many years of practice. Like in western ballet, many young and talented Indians today are continuously willing to learn their traditional dance. These young people usually have jobs related to singing, dancing, and acting, and are in fact the very providers of entertainment for the entire nation. They would usually perform in the middle of the night, out in the fields and some of the exceptionally accomplished men and women would be allowed to perform in court.
Third, the techniques for emotional and facial expression have roots in the numerous Rasas and Bhavas found in Indian arts tradition. Natya Shastra lists four basic rasas; love, heroism, passion, and despise. There are than further divided into 9 important types of rasas; love, courage, joy, hate, rage, compassion, fear, alarm, and spiritual peace. Each rasa incorporates a number of Bhavas. A Bhava is expressed in various ways according to the time of day, state of health, climate, and other factors in life. The number of Bhavas in a rasa may be as little as three to as many as 49. Meena, who took the role of Ganga in the film, states in an interview that an Indian actor can not perform the multiple facial expressions required in a movie without acquiring fundamental skills in traditional rasas.
Fourth is class distinction by the Caste system. According to Caste, Brahman are poets and priests, Kshatrya, the royal family, Bysha, the merchants and farmers, and Sudra, the slaves and lowly workers. What is interesting about Indian film stars, compared to Hollywood celebrities, is that they are relatively plump. Rajnikanth who acted as Mutu, the most popular super star in India today, is chubby and has the looks of an ordinary Indian guy next door. One can notice Meena, as Ganga, shaking her love handles on screen. But the Indian audience regard broadness in physicality as signs of abundance, high-class, and nobility. The background for such aesthetics lies in the traditional Caste system which, throughout the long Indian history, has created respect and submission from the commoners to aristocratic rulers.

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