한국 탈춤의 생성미학적 해석 = Korean Talchoom's becoming-aesthetical interpretation

다국어 초록 (Multilingual Abstract)

According to the Chinese man Jinsu(233-297), Buyeo, Goguryeo. Ye and Mahan in Samhan etc. performed harvest ceremonies(a memorial to the sky) and agricultural ceremonies(a memorial praying for rich harvest). It is a thing eating food, drinking, dancing and singing with gods including the sky and getting into a state of ecstasy as a group.
According to anthropologists Arnold Van Gennep and Victor Turner, the core of this performing field, where the state of ecstasy as a group is happened, is that a gap-space or the third boundary zone is formed. And also the body and the consciousness captured by the everyday lifes customalized and codelized regulation system is opened. This means that the people in the ceremony participates in the creation of the new world right at that moment, at the place they are in ‘now-here'.
This report tries to compare and examine the 3rd space festival field, ‘Madang' field, performing field started from the ancient harvest ceremony with the Deleuze’s holed space and also tries to interpret the state of ecstasy as a group at the view of life philosophy.
The meanings of the boundary zone, which is the third space, is that it summons the deep space. That soon means that everybody who is in the state of group ecstasy becomes united with the life of the sub-conscious dimension. Soon the extinction of distance of the horizontal dimension will inevitably call upon depth. The meaning of this is the unity of group enthusiasm and life.
Also, Nietzsche says, the ‘sourceful straight’, everybody uniting in the Dionysos’s intoxication, is not an idea in good order but a chaotic ‘Dionysos’. Dionysos is a heterogeneous straight, a background as a non-background, paradoxical background, a dynamically systemed straight that doesn't introduce the transcendental dimension beyond the entities. While the idea has a still system that permanently maintains the perfect self-identity, the ‘sourceful straight’ has a dynamic system where the chaotic plays of the heterogeneous differences happen. The ability of the system of these differences is life.
This basic meanings of life “The life that doesn’t belong to the organism, restricted by its own life is called the ‘body without organs’" by Deleuze.
“Modern art is not the representation of visible things but the presentation of things that are invisible to our bare eyes” says Paul Klee an artist. “Visible thing” here means a concrete object of experience at the actual level. People’s point of view about Talchoom(Korean Mask Dance) is changing. For example if you see Talchoom in the viewpoint of Modern art, the important thing is not in seeing the surface of it, but in presenting the value and meaning inside it, which are not seemingly seen. At the same time you should see it the context of time and creation. In other words, what is important on the stage of Talchoom is not the movements themselves but the power that makes the Talchoom-field(Talchoom performances) take place. At this time, the power is kind of inner power by which the livelihood and energy of Talchoom can be presented.
The reason this writer tries to pay special attention to the inner power of Talchoom is to reveal the basis and necessary conditions for Talchoom. This is an attempt to recover the lost contact with the essence of Talchoom which exists under the surface of Talchoom movements. This is also the effort to make the discourse on Talchoom richer. This research is to restore the virtuality of Talchoom, which works as the realistic condition and existential basis for Talchoom.
Talchoom is performed on Madang(open space). And the relative exterior of Madang signifies the whole places of the everyday life of the people. In this sense, we can define the absolute exterior of Madang as is a field of life that creates the yard’s virtual level. This space is not a three dimensional real life space but it is a virtual space that contains time which is four dimension and the spirit which is five dimension. Here, the Talchoom’s time is created.
Talchoom does not lock up its components to a certain point and the components, as well, keeps their abilities and contributes to the creation of the Talchoom field. In other words, the Talchoom filed is the multiplicity and the components are the machines.

국문 초록 (Abstract)

본 논문에서 연구자는 한국의 탈춤을 현대 생성존재론의 ‘생명’ 개념으로 해석할 것이다. 우리의 탈춤은 근대 이전의 산물이지만 또한 그것은 ‘지금-여기’에서 연행되고 있는 현대예술의 한 갈래이다. 탈춤을 근대 이전의 예술로 보며 한국의 전통적인 미, 혹은 미의식이 어떻게 구현되어 있는지를 밝히는 작업도 중요한 일이다. 하지만, 연구자는 한국의 탈춤을 ‘지금-여기’의 살아 있는 현대 예술로 대하고자 하는 것이다. 한편, 연구자는 선행연구에서 고대의 국중대회와 축전판의 집단적 난장 체험 그리고 탈춤판의 집단적 신명 체험을 생성미학적 관점에서 논한 바 있다. 이러한 집단적 체험에 주목한 이유는, 그것이 우리의 전통연행을 두루 관통하는 현상으로 공동체적 미의식의 근거가 되는 것이기 때문이다. 연구자는 이러한 현상을 ‘생명과의 합일’로 해석하며 한국의 전통연행을 하나의 통일된 관점으로 바로 보고자 했다. 이때 주목한 것이 현대 생성존재론이었고 현대 생성존재론의 정점에 서 있는 들뢰즈의 ‘생명’ 개념으로 이 현상을 새롭게 해석하고자 했다. 현대 생성존재론의 ‘생명’ 개념과 이 개념의 변형 개념들인 ‘잠재성’, ‘과거전체’ 등은 탈춤을 ‘지금-여기’의 살아 있는 예술로 재음미할 수 있게 하는 유용한 개념들이다. 여기서 ‘생명’은 잠재적 차원의 비유기적 생명을 일컫는다. 생명 개념은 잠재성 개념과 상통한다. 보이지 않는 차원의 잠재성은 보이는 차원의 현실성과 상호규정적 관계를 가지는 개념이다. 또한, 과거는 선형적 시간관에서의 그냥 지나가 없어져 버리는 시간이 아니다. 과거는 현재와 딸린 채 잠재적 차원에 이미, 항상 존속한다. 그러기에 ‘과거전체’는 ‘잠재성’의 또 다른 이름이다. 이렇게 ‘생명’, ‘잠재성’, ‘과거전체’는 서로 통하는 개념으로 본 논문에서 탈춤을 분석하는 주요 개념들로 도입될 것이다.

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1. 문제 제기 1
• 2. 선행연구의 검토 3
• 3. 논문의 의의 및 목적 6
• Ⅱ. 탈춤과 탈, 그리고 탈꾼 11
• 1. 탈춤 12
• 2. ‘탈’이라는 말 14
• 3. 탈꾼 16
• Ⅲ. 탈춤판과 탈춤의 연행구조 36
• 1. 탈춤판의 성격과 운동 37
• 2. 마당, ’지금-여기’ 54
• 3. 봉합적 연산구조와 저장된 실체 60
• 4. 탈춤판과 제 3의 공간 74
• Ⅳ. 봉산탈춤 목중춤, 미얄춤, 노장춤 과장 79
• 1. 목중춤 과장과 생명의 운동 80
• 2. 미얄 과장의 생성미학 102
• 3. 노장춤 과장과 잠재성 111
• Ⅴ. 결론 130
• 참고문헌 137
• 영문초록 142