극단「미추」의 마당놀이 연구 = The Study on Madangnori by a Theatre company「Michoo」

다국어 초록 (Multilingual Abstract)

Madangnori has been founded by Theatre company 「Michoo」 in 1981 and one of the most attractive features of Madangnori is popular style which is modernized by applying tradition compared with other theatrical experiments since 1970. Although, Madangnori, however, has been performed for every year in the circumstances of supporting by the masses, but the main stream of academia, to some extent, has belittled popular culture for a long time. For this reason, practical researches could have not been enough for the performance of Madangnori.
Madangnori is a play that the play which have been synthesized from Korean songs and dances, aroused into divinity, and characterized community conscience is based on valuable productivity on living sites about Korean in the traditional gambling grounds, 'Madang'. Not only that, It could be discussed in a roundabout way reality through satire and humor in classics, apply from traditional art usage which is based on spirit of play, in this sense, the majority of people seems to agree that Madangnori could be estimated into a total play.
There is no question that Madangnori which parodies various realistic issues from politic, economy, society, and culture is based on traditional classics. Also, Madangnori satirize social structuralist paradox throughout disguising play with pathos. Overall frame in Madangnori is composed of the front play-the main play-the end play from adapting Talchum. Decomposing epic construction in classics, amplifying essential episodes by means of the intention of parody into composing independent each episodes, and each episode is connected casually by singers and narrators. In other words, It intensifies characteristics which cause divinity by dance and singing, communicate with audience by the front play and the end play, and induce audience to take part in the performance voluntarily.
Compared with the dance of Talchum's playing area, 'Madang' do not need special stage designs and props, in short, it is 'empty space which is made from the four sides are surrounded with audience. 'Madang' actively utilizes spiritual aspect, for this reason, it has changeability and multiplier to create for time and space. Also, Madang which has not clearly division between stage and auditorium unfolds potential to intrude freely from one side to the other sides. Owing to these traits, 'Madang' could unfold potential between play and reality, between actors and characters, and scene transition as well as stage and auditorium. This reflects 'Madang' is built on theatrical imagination from audience who realize theatrical conventions.
Actors in Madangnori exist as 'actor as himself or herself' for presenting character rather than representing character to arise theatrical illusion. Madang's spiritual and open traits demand professional and improvisation for actor's acting. To communicate with audience who surround actors in the four sides, actors should perform for audience rather than counterparts. Also, somewhat exaggerated gesture and Pourimsae(unfolding and amplifying traditional acting method) are demanded for actors. Aside from that, entire play's rhythmical charm and fast tempo should be expressed by respiration training, Okumgil in traditional rhythm, I can see that Madangnori's actors are demanded from not only Talchum, pansori, folk song, Namsadang's crafts(the troupe of strolling players's crafts), but also improvisation and promptitude to communicate with audience.
Audience who are ultimate interpreter, creator, and participant in Madangnori play an important role. 'Madang' cause audience to encourage theatrical imagination, as a result of it, various potential stages are made from that. Accordingly, infinitive communication could be possible between actor and audience. Moreover, once unspecific a great number of people could build community sympathy through satire and humor in performance. Also, like group consciousness by plays could be discharged into collectively divinity.
There are several qualities between Madangnori in Korea and total theatre in Western have in common, now that, various performance aspects and methods are synthesized for Madangnori and total theatre. To be specific, actor who utilize himself totally is to be theatrical symbol, particularly, there are theatrical and social artistic act as well as a sense of unity by means of this process is built from meeting audience. To some extent, Both sides come in contact with each other.
Aside from that, different aspects for Madangnori, as we can seen, have been intermingled into Madangnori. For these reasons, Madangnori has characteristic of postmodernism which have open and multiple potential. That is to say, Madangnori could be categorized into postmodernism, because Madangnori focus on intruding border among arts, between stage and auditorium, actor and audience, play and reality, life and art. Also it has illogical construction, spectacles from songs and dances, various expressive techniques. Consequently, it has characteristic of postmodernism in that it emphasize amusement, recreation, public performance, and so on.
As we can see, It is desirable fact that a culture has both peculiarly racial identity and worldwide universality. In this sense, Madangnori could stand high in estimated in that accomplish of peculiarity, cultural identity which is modernized by tradition in our play. All thing considered, Madangnori by a Theatre company「Michoo」has a theatrical significance in that it acquires establishment of national identity and acquisition of publicity.

목차 (Table of Contents)

• Ⅰ. 서 론 = 1
• 1. 연구의 목적 = 1
• 2. 연구범위 및 방법 = 3
• Ⅱ. 극단 「미추」 마당놀이의 형성 = 9
• 1. 마당놀이의 개념 = 9
• 2. 「미추」마당놀이의 전개 = 18
• Ⅲ.「미추」마당놀이 공연의 특성 = 24
• 1. 전통의 재해석 = 24
• (1) 고전의 패러디 = 26
• (2) 서사적 구성의 극화 = 34
• (3) 설화적 인물의 재평가 = 41
• 2. 열린 '마당'의 형상화 = 49
• (1) 현대적 '마당' 공간의 구축 = 50
• (2) 시·공간 경계의 개방 = 56
• (3) 뿌림새 연기의 전문성과 즉흥성 = 63
• (4) 관객의 참여와 역할 = 71
• 3. 총체적 놀이의 구현 = 77
• (1) 마당놀이의 총체성 = 78
• (2) 놀이의 표현기법 = 85
• Ⅳ. 결론 - ‘전통의 대중화’라는 성과의 의미 = 92
• 참고문헌 = 97
• ABSTRACT = 107
• 부록 : 극단「미추」마당놀이 주요 공연연보 = 111