한국 탈춤의 현대 생명미학Ⅰ -탈춤과 잔혹극의 비교를 중심으로- (Korean Talchoom's modern life esthetics I)

서지정보

· 발행기관 : 한국연극교육학회
· 수록지 정보 : 연극교육연구 / 20권 / 20호 / 173 ~ 203페이지
· 저자명 : 최찬열, 김미현

초록

This paper is going to interpret the Korean Talchoom Pan and Talchoom performer with the Deleuze's idea of ‘Life'. Also we'll compare Artaud's theater of cruelty with Talchoom through the concept of life. These kind of discussions will be the job that will revive the cultural characteristics of our traditional Talchoom. By revealing the modern meanings of Talchoom and comparing it with the Western modern theaters, we will see Talchoom as the play that is still alive at the 21st century, not as a taxidermied stuff beyond history. And by these point of views, I think Talchoom is the most valuable source in making our Korean theaters 21st century prospect.
The grounds of Deleuze, who is the best of modern becoming-ontology, are the grounds of life. Deleuze's grounds heads to the sea of life by escaping from the unique disease: transcendence of the West. The life philosophy of Deleuze, which is heading to the transcendental field of life, overthrows the shape philosophy of Plato. Separated from the existing shape philosophy, Deleuze attaches Nietzsche and Bergson and explains the world and art without appealing any transcendent things.
I will have the perspective of not seeing the Talchoom Pan as any of these following things: an imitation of any kind of transcendent things, an expression of any composition agent, planning agent, audience agent and social organizations or the reflection of the social contradictory relationship. That will be an action of denying any kind of identities of shape that are imposed to the Talchoom Pan , and also will be an action of denying the essence of shape that guarantees those identities. And this means also, possessing the Talchoom Pan, at the perspective of perfect creation, through the ‘dynamical process' of energy, power and spirit. Deleuze sees that these dynamical fields of power and energy, and the sea of spirits are the field of life. The transcendental horizon that constitute Talchoom performer is time. On the horizon of time, a Talchoom performer makes a new ‘himself' through facing objectives, and by that he loses his identity. The recovery of this loss demands self modifying and this demand makes him repeat questions about himself. Only through these repeating, a Talchoom performer can reconstitute himself from dissolution. Talchoom performer is a possessor of an ability to make new identities through the struggle with those dissolution processes, so they are an existence that are established between differentiation and sameness.
To Artaud, play is his life and the world is the stage. Artaud's theater of cruelty, which creates dramas of new life, is a play of a process of repeating a new life through death, not a play with decided rules or results. The ‘death' here is not a negative thing. It means the process of making a new life through facing lifes that are not organic. Artaud's idea of ‘body without organs' is the most important idea in solving the theater of cruelty with the concept of life.
The actors of the theater of cruelty, which is a modern play of the West, and the Talchoom performers of our traditional play Talchoom, in other words, performers, puts high values on bodies and physical tension more than language and psychological tensions based on language. And they are not just people who represents the intents of the writers and directors. They have the same thing in common that they are becoming a creative ‘piece of art' themselves now-here at the play by new self-making. So this way our Talchoom and the modern play of the West goes together.

영어초록

This paper is going to interpret the Korean Talchoom Pan and Talchoom performer with the Deleuze's idea of ‘Life'. Also we'll compare Artaud's theater of cruelty with Talchoom through the concept of life. These kind of discussions will be the job that will revive the cultural characteristics of our traditional Talchoom. By revealing the modern meanings of Talchoom and comparing it with the Western modern theaters, we will see Talchoom as the play that is still alive at the 21st century, not as a taxidermied stuff beyond history. And by these point of views, I think Talchoom is the most valuable source in making our Korean theaters 21st century prospect.
The grounds of Deleuze, who is the best of modern becoming-ontology, are the grounds of life. Deleuze's grounds heads to the sea of life by escaping from the unique disease: transcendence of the West. The life philosophy of Deleuze, which is heading to the transcendental field of life, overthrows the shape philosophy of Plato. Separated from the existing shape philosophy, Deleuze attaches Nietzsche and Bergson and explains the world and art without appealing any transcendent things.
I will have the perspective of not seeing the Talchoom Pan as any of these following things: an imitation of any kind of transcendent things, an expression of any composition agent, planning agent, audience agent and social organizations or the reflection of the social contradictory relationship. That will be an action of denying any kind of identities of shape that are imposed to the Talchoom Pan , and also will be an action of denying the essence of shape that guarantees those identities. And this means also, possessing the Talchoom Pan, at the perspective of perfect creation, through the ‘dynamical process' of energy, power and spirit. Deleuze sees that these dynamical fields of power and energy, and the sea of spirits are the field of life. The transcendental horizon that constitute Talchoom performer is time. On the horizon of time, a Talchoom performer makes a new ‘himself' through facing objectives, and by that he loses his identity. The recovery of this loss demands self modifying and this demand makes him repeat questions about himself. Only through these repeating, a Talchoom performer can reconstitute himself from dissolution. Talchoom performer is a possessor of an ability to make new identities through the struggle with those dissolution processes, so they are an existence that are established between differentiation and sameness.
To Artaud, play is his life and the world is the stage. Artaud's theater of cruelty, which creates dramas of new life, is a play of a process of repeating a new life through death, not a play with decided rules or results. The ‘death' here is not a negative thing. It means the process of making a new life through facing lifes that are not organic. Artaud's idea of ‘body without organs' is the most important idea in solving the theater of cruelty with the concept of life.
The actors of the theater of cruelty, which is a modern play of the West, and the Talchoom performers of our traditional play Talchoom, in other words, performers, puts high values on bodies and physical tension more than language and psychological tensions based on language. And they are not just people who represents the intents of the writers and directors. They have the same thing in common that they are becoming a creative ‘piece of art' themselves now-here at the play by new self-making. So this way our Talchoom and the modern play of the West goes together.

참고자료

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