안동하회별신굿 탈놀이의 지역정체성 획득 과정과 콘텐츠로서의 가치 (The Process of Obtaining Regional Identity and Value as Content of Andong Hahoe Byulsingut Talnori)

서지정보

· 발행기관 : 배달말학회
· 수록지 정보 : 배달말 / 67호 / 117 ~ 139페이지
· 저자명 : 유형동

초록

안동하회별신굿 탈놀이는 안동을 대표하는 중요한 문화유산이다. 농촌형 탈놀이의 전형을 간직하고 있다고 평가되는 안동하회별신굿 탈놀이는 1958년 제1회 민속예술경연대회에서 1등을 수상하고, 1964년에는 하회탈이 국보로 지정되었으며, 1973년에는 하회가면극연구회가 결성되어 그 입지를 단단히 했다. 하회탈이 국보로 지정되고 1980년 하회별신굿 탈놀이가 중요무형문화재(69호)로 지정되면서 안동의 지역정체성을 획득해 갔다.
하회별신굿 탈놀이는 하회마을 사람들의 제의라는 맥락을 벗어나 독립적인 연행물로 설 수 있게 된 것이다. 하회별신굿 탈놀이 연행과 전승의 재맥락화는 한편으로는 현대 민속의 전승양상을 보여주는 것이고 다른 한편으로는 민속의 문화 콘텐츠화 과정에서 무엇을 고려해야 하는가 하는 문제를 제기한다.
하회별신굿탈놀이 내부에서 일어난 큰 변화 중 하나는 상설공연 시도였다. 반복되는 공연 속에서 자연스럽게 향상된 기량과 즉흥 연기 등은 박제화된 탈춤을 벗어나는 사례로서 가치를 지닌다.
다만 지역성에 대한 진지한 조사연구 및 실험이 다양하게 진행되어야 할 것이며, 국제화 추구 역시 내실을 기하는 지혜가 필요하다. 이렇게 각각 성숙된 기반을 마련했을 때 비로소 안동하회별신굿 탈놀이의 콘텐츠로서의 가치가 명확해질 수 있을 것이다.

영어초록

Andong Hahoe Byulsingut Talnori is an important cultural heritage representing Andong. It has attracted the attention of folklorists since Japanese colonial era, and has received attention from both inside and outside academia as it coincides with the reconsideration of national values and cultural nationalism. Since then, Andong Hahoe Byulsingut Talnori, which is considered to retain the stereotype of rural mask play, won the first prize at the first folk art contest in 1958, Hahoe mask was designated as a national treasure in 1964, and the Hahoe Mask Theater Research Association was formed in 1973 to solidify its position.
Hahoe Byeolsingut was established as a significant cultural monument to local residents, and this ritual was developed one step further with the designation of Hahoe mask as a national treasure. Finally, Hahoebyeolsingut mask play was designated as an important intangible cultural asset (No. 69) in 1980.
Based on this foundation, Hahoe Byulsingut Talnori (Hahoe Byeolsingut) was able to stand as an independent collection beyond the context of the ritual of the people of Hahoe Village. The re-declaration of Hahoe Byeolsingut Talnori and Victory on the one hand shows the pattern of modern folklore on the other, and raises the question of what to consider in the process of cultural contenting folklore on the other.
The pursuit of internationalization of the Andong International Mask Dance Festival is seen as a way of breaking the original grammar or locality of the mask play itself and seeking universal fun, laughter, spectacle, and parades. In particular, the staged folk dance of foreign performers is largely used as a formal requirement, with the disappearance of the kernel of the pursuit of internationalization.
One of the major changes that took place inside Hahoe Byeolsingut Talnori with the start of the Andong International Mask Dance Festival as a representative tourism and cultural content of Andong was the attempt for a permanent performance. More than 1,000 people participated in every weekend's performances, and it was a performance that left the context of Hahoe Byeolsingut, but it was a system that was naturally linked to Hahoe Village tourism as it was watched in Hahoe Village. In the midst of repeated performances, naturally improved skills and improvisation are examples that go beyond the stuffed mask dance, and it is noteworthy that not only are they valued, but they are also actively attracting foreigners to the plate, showing their strategy of attracting foreigners to recognize their lack of their lack of legitimacy.
However, serious research and experiments on locality should be carried out in various ways, and the pursuit of internationalization also requires wisdom to ensure its internal stability. Only when each of these matured foundations is laid out can the value of Andong Hahoe Byeolsingut Talnori be clarified.

참고자료

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