판소리 <춘향가>에서 드러난 정념의 소통양상 = The Communication of Semiotic Passion in Pansori Performance chumhang-ga

다국어 초록 (Multilingual Abstract)

The purpose of this thesis is to an analyze passion communicated in chunhang-ga, Pansori performance. The performance space of Pasori consists of singer, audience, and their spontaneous reaction in this performance stage and the passion is flowed and communicated at the different levels. The marked character of Pansori performance is that single singer plays a role of every actor and even narrator. Thus, this performance stage can be classified in levels of different subjects: the actors and narrator on discourse level. This subjects of each level create their space of passion, which can be connected with the conception field of existence by Jaque Fontanille, in his The semiotics of discourse. I will apply five codes of Fontanille for specifying this communication: modal codes, somatic codes, rhythmic codes, perspective code, and figurative codes. This five codes cannot be simply corresponded at each level, but they can be generally connected certain level: the discourse of actors will be examined in modal codes and chuimshe and improvised reaction of singer and audience will be related to somatic codes. Rhythmic codes can be actual rhythm in stage and narrative rhythm, crossing of song and aniri. Perspective codes is multi-layed point of view in Pansori and finally, figurative codes are conventional expressions used in Pansori. Modal codes is to analyze actors Chunhyang and Mongryong. In addition, figurative, perspective and rhythmic code can be useful for analyzing the narrative subject of discourse level. At last, rhythmic and somatic codes can be utilized to examine the passion of Audience and their assimilation mode into chunhyang, in performance stage. In conclusion, creating passion of each subject in specific performance stage is individual at first, but it is extended, communicated and assimilated during the process of Pansori.

참고문헌 (Reference)

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