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한국문화 지역적 ‘로컬리티’의 현대적 활용 방안-‘지역민요’의 경우를 중심으로
김익두 한국민요학회 2015 한국민요학 Vol.45 No.-
Culture is an all of human’s life which reflects regional locality. This cultural and critical tendency appears more evidently than ever after the 20th postmodernism or destructuralism. From this perspective, regional folklores attract our attention in our effort to secure locality in the 21st cultural planning. The utilization of regional folklores which secure regional identity and locality in the 21st culture is sought in the following seven ways; First, regional folklores become a basis of the study, security, and intensity of regional identity. Second, regional folklores become a source of the art creation in regional culture. Third, regional folklores can be used for the cultural art education. Fourth, regional folklores can be used for tourist products. Fifth, regional folklores can play a role of an important cultural exchange mediator where the region exchanges culture with other regions. Sixth, regional folklores do not stay in their region but extend to the area in which they become an important source of securing a variety of identity of the ethnic culture including their own culture. Seventh, from this perspective regional folklores become a crucial source of the Korean ways - cultural movement, particularly K-pop. ‘문화’란 인간 삶의 총체로서 그것을 낳은 지역적 로컬리티를 반영한다. 이러한 문화적-비편적 경향은 20세기 말 ‘포스트모더니즘’ 혹은 ‘탈구조주의’ 이후 훨씬 더 강력하게 전 세계적으로 나타나고 있다. 이런 측면에서 볼 때, 민요 특히 ‘지역민요’는 우리 문화의 21세기적 기획에 있어서 ‘로컬리티’ 확보의 매우 중요한 주목 대상이 된다. ‘지역민요’ 곧 어떤 지역의 지역적 정체성을 분명하게 확보하고 있는 민요들의 지역적 로컬리티를 21세기적 문화 맥락에서 구체적으로 활용하는 방안은 대체로 다음 7가지 측면에서 생각해 볼 수 있다. 첫째, ‘지역민요’는 그 지역문화의 지역적 정체성 탐구․확보․심화의 주요 근거 자료가 된다. 둘째, ‘지역민요’는 다양한 지역문화 예술 창조의 중요한 원천자료가 된다. 셋째, ‘지역민요’는 또한 지역 문화예술 교육의 주요 자료로 활용될 수 있다. 넷째, ‘지역민요’는 또한 그것을 낳은 지역 문화예술 관광상품으로도 제대로 개발될 수 있다. 다섯째, 그것은 또한 그것을 낳은 지역이 다른 지역과 문화교류를 하고자 할 때, 중요한 문화교류 매개자 역할을 할 수 있다. 여섯째, ‘지역민요’는 그것을 낳은 그 어떤 특정지역에만 머물러 있지 않고, 여기서 더 나아가 그것을 포함한 그 민족문화의 다양한 정체성을 확보하는 중요한 원천이 된다. 일곱째, 이런 시각에서 ‘지역민요’는 우리 ‘한류-문화운동’ 그 중에서도 특히 ‘K-pop’의 미래를 추구하기 위한 중요한 원천자료가 될 수 있다.
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'비추어보기'로부터 '관계탐구'에로-한국의 연극적 공연 양식들의 세계적 위상과 가치-
김익두 한국극예술학회 2003 한국극예술연구 Vol.0 No.17
From 'Mirroring' to 'Relating'
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한국 전통 공연예술 상에서 본 판소리의 공연예술적 특성
김익두 한국극예술학회 2002 한국극예술연구 Vol.0 No.16
Traits of Pansori as performing art in Korean traditional performing arts
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김익두 한국문학언어학회 2003 어문론총 Vol.39 No.-
The theory of Korean drama mans a universal principle which is related with Korean drama's method, purpose, function, and characteristics as a model of culture. However it has not been established as a unified theoretic system so far. It can be divided into 16 areas and the basic principle of each area is as follows. First of all, the are principle of life and principle of harmony in the basic theory of drama And in the area of acting the are principle of Sa-che (i.e., four important elements-good looking, expressivity, Deuk-eum (the most complete phrase of musicality), and Nurumsae (visual and good acting), principle of blank, and principle of intermediation which makes the audience arouse their rich imagination, not as an actualizing illusion. There is principle of constructing-deconstructing in the theory of stage. Traditionally the stage of Korean drama is built more concretely as the drama begins but fades away as the drama ends. The core of the theory of Korean comedy is principle of oral first and character later, principle of whole, and principle of group centered Principle of oral first and character later is the principle that is focused on oral tradition and supplemented by character tradition. Principle of whole is the principle that is focused on the whole of rather than cause and effect of the story. Principle of group centered is the principle that is focused on group rather than an individual. There are principle of unification and principle of net in the theory of Korean music and dance. The former is the principle that unites sound of musical instrument, singing, dancing, and Play with each other appropriatery in order to make an effect on some meaning and the latter is the principle that is focused on a certain feature with which the rest of the elements unites in performance. In the theory of dressing and make-up there are principle of intermediation and principle of mere marking. The former is the key and the latter is used as supplementary. In the principle of mere marking, clarity of dressing or make-up is not important thus minimal differentiation is enough. In the theory of sound and lighting principle of naturalization is centered and principle of intermediation is also found in the theory of tool. These is principle of creating new life in the theory of managing, principle of suitable calls in the theory of audience, and principle of emptying and filling in the theory of performance. In the theory criticism there are principle of reaction, principle of immediate criticism, and principle of new life The aesthetics of Korean drama is differentiated from others as that of new life and the theory of the history of drama is based on principle of decentralizing and principle of centralizing. And finally in the theory of drama education there are principle of orally transmitted body training and principle of self understanding and self realization. The former is the principle of education that is focused on orally transmitted knowledge of drama and the latter is the principle of education that is focused on do-it-yourself way of learning in the long period of time as a religious performance "the way" in order to realize what the drama is. In the theory of dram occupation there is principle of dangun-kwangdae in which the player acts as a divine Dangun and as a mundane Kwangdae as well. All the principles that I mentioned so far is the principles that I extracted from Korean drama in examining them from various angles, thus they can be a basis of the theory of Korean drama relating closely with each other. The theme of each chapter in this paper was examined macroscopically like looking through a telescope but it can be examined microscopically like looking through a microscope since every theme in this paper needs a further detailed study. Such two approaches are complementary. But at present through a telescope is more needed and that is the view of this paper. Based on the discussion of this paper I expect that there be a great advance in the theory of Korean drama.
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