황해도 옹진의 본영탈춤·소강탈춤의 전승배경과 연희적 특징

정형호,송인우 한국공연문화학회 2010 공연문화연구 Vol.0 No.20

Aside from the Kangryung masked dance, a masque dance in the near of Ongjin county in Hwanghae province has been transmitted. This article was written by two researchers to investigate this fact in a new way. Inwoo Song had conducted a focus interview aimed at persons who came from Ongjin to South Korea and Hyungho Chung had been responsible for summarizing and analyzing the interview. Bonyoung and Suyoung were a place in which a navy admiral stayed and a very rich area. These two places and Kangryung invited and perfomed each other. They kept a competition relationship for the performance. For this reason, the masque dance had advanced in this area. Compared to Kangryung masked dance, this masked dance had a difference in the performance order including a lion dance. Malddukyi dance was expressed in detail in the first part and Hanryang dance was performed independently in the middle of the dance. Sangjwa dance among dances was considered important. Also a lively Malddukyi dance was a scale which measured the skill of the dance. Chwiballyi starred in the dance. The mask was made from a paper and had a grotesque ghost face. This dance was played around Dan-oh. The music accompaniment was conducted by professional musician group, “Kyungjanpae”, who lived in the vicinity. They had talents such as masked dance, tightrope dancing, tumbling in addition to music accompaniment. Especially, a local shaman took part in the Bonyoung masked dance and leaded an excorcism after the death of Halmi. Also, in the part of the Kwangdaedaegam gut, the shaman and village people put on the mask and danced together. Therefore, a shaman was closely connected with a local masked dance. After the Korean war, Kangryung masked dance was restored but Bongyoung and Sogang masked dance was not transmitted at all. This article will be helpful for completing the script and restoring the Bongyoung and Sogang masked dance. 황해도 옹진의 본영과 소강 지역에는 인근 강령탈춤과 별도로 탈춤이 전승하고 있다. 이 글은 이를 새롭게 밝히기 위해 2인의 역할 분담으로 쓰여졌다. 송인우는 옹진에서 월남한 사람을 대상으로 집중 면담 조사를 실시했으며, 정형호는 이를 정리, 분석하는 일을 맡았다. 본영과 소강은 수군의 지휘자가 거주하던 곳으로, 경제적 기반이 튼튼한 곳이다. 이 2곳과 인근 강령은 서로 초청하기도 하고, 상호 경쟁관계를 유지하며 탈춤을 발전시켰다. 연희적 특징을 보면, 기존 강령탈춤과 비교하여 사자춤을 비롯한 일부 순서에 차이가 있다. 소강에는 말뚝이춤과장이 세분화되어 있으며, 본영에는 한량춤과장이 독립되어 있다. 춤에서는 상좌춤을 중요시했고, 활달한 말뚝이춤이 춤의 기량을 재는 척도이며, 취발이가 배역의 대표역을 맡았다. 탈은 종이탈이고, 그로테스크한 귀면(鬼面)형이며, 놀이 시기는 단오가 중심이다. 음악의 반주는 모두 인근에 ‘경잔패’라는 전문적 악사들이 사는 마을에서 맡았으며, 이들은 음악 이외에 탈춤, 줄타기, 땅재주 등의 재주도 지녔다. 특히 본영에는 지역 무당이 직접 본영탈춤에 참여해 할미 사후 장면에 굿을 주도했다. 그리고 개인 집의 굿에서도 ‘광대대감굿’ 부분에 무당과 주민이 같이 탈을 쓰고 춤을 추었다. 따라서 무당이 지역 탈춤과 매우 밀접한 관련을 지닌다. 전쟁 후 강령은 남한에서 복원되었으나, 본영과 소강탈춤은 외부에 전혀 노출되지 않았다. 이 글은 앞으로 본영과 소강탈춤의 연희본 완성과 복원을 위한 시발점이 되리라 판단된다.

한국민속학회 휘보

정형호,천진기,이시종 한국민속학회 2013 韓國民俗學 Vol.57 No.-

韓國 儺禮의 假面劇史的 意味 考察 - 연희 내용과 전승 집단을 중심으로 -

鄭亨鎬 동아시아고대학회 2000 동아시아고대학 Vol.2 No.-

The Narye ceremony, where various mask dances are inserted, is always considered important whenever there is a discussion of Korean history of the mask play. Unlike other ceremonies that intend to drive ghosts away, Narye came from China and was usually performed in the palace at the end of the year. This paper focuses on the effect of Korean Narye ceremonies, and on the formation of the civil mask plays that are handed down in many regions of Korea now. This study is accomplished by carefully examining the times in which the ceremonies were performed and passed on, their content and the leading groups who participated. Korean Narye gradually overcame the position of being a religious ceremony held at the end of the year and slowly became the Nahee. Various entertaining recreations have been added. It was abolished as a national ceremony in the 17th century during the Chosun dynasty. Therefore our Narye is mostly a royal ceremony, and any records of civil Narye ceremonies can only be found in some areas during the 19th century. Most of the civil Narye were actually led by the local government and the dwellers that lived there participated in the ceremony. In many cases, it is included in the customs of the January Full Moon day (January 15th of the lunar calendar). Its distribution is centered in the Kyungsang Province. For such reasons, ceremonial characteristics of Narye gradually weakened and folk beliefs were added and entertainment varied. Comparing the content of Narye with the extant mask plays, we can find that the dance of the divinities of 5 directions partly remained in the extant mask plays of Kyungsang Province. But we cannot really see this as an inherent aspect of Narye ceremony because it was originally a folk belief. On the other hand, a person related to a Buddhist monk appears on the stage of Narye but the character is not varied, specific or general, as it is today. Also Somae, who is the divinity of the guardian of the door, shows up too, but there is a certain difference in the character from that of today. There is an animal dance related to the 12 zodiac signs in Nayre, but there is no animal dance other than the dance of the lion in the extant mask dances. There is also a simple farce in Narye that is critical to reality; thus it included criticism for those who ruled society and the lot of the poor everyday life of common people. Such criticism stands at the center of the extant mask plays. But as Narye was performed in the palace, such criticism was limited. Therefore, as we compare it through content, Narye shows much difference from the extant mask plays. Also the groups of special clowns who participated in Narye were called upon for special national ceremonies, but the government didn't provide them with any security for life. So they had to join in the general feasts of normal citizens for material support, develop various methods of entertainment and strengthen their criticism toward their environment (reality). These people traveled around the centers of the districts or markets, and played a certain role in the formation of the extant mask plays. However, as the extant mask plays were transmitted in their regions, various methods of entertainment were dispensed with and they were reformed into farce~centered mask plays with the taste of satire and humor. Thus, it is hard to find evidence that many clowns who participated in Narye ceremonies were the ones who transmitted and developed the mask plays in the regions they settled. The mask plays of Hahoe, Yechon, and Jain areas in Kyungsang Province and in Kangnung in Kangwon Province are combined forms of the exorcism mask play called Goodtalnori, where the exorcism ceremony is combined with the mask play, and they were developed spontaneously. As a conclusion, we can say that the effect of Korean Narye on the extant mask play was quite restricted. Narye, where an exorcising ceremony was combined with various kinds of entertainment, is quite different from the mask play that is performed now. We can only find some relation in the parts where they criticize reality. Instead we can rather say that the characteristics of the regional Deadong Nori are the ceremonial features of the inhabitants in order to wish for abundance and peace. The critical features of the common group who criticized helpless nobles and conventional monks formed the extant mask plays.

고려인 공연예술 단체의 독립 이후의 활동과 민족 정체성

정형호 무형유산학회 2021 무형유산학 Vol.6 No.2

이 글은 독립 이후의 중앙아시아 고려인 공연예술단체의 활동을 중심으로 공동체적 성격과 민족정체성에 대한 현장론적 접근이다. 대상은 카자흐스탄, 우즈베키스탄, 키르기즈스탄의 주요 도시의 고려인으로 한정하고, 일부 연해주 고려인도 포함했다. 조사 시기는 2013년부터 2017년 사이에 이루어졌으며, 공연예술단체는 전문적, 비전문적 단체를 두루 포함하고 있다. 민족정체성에 대한 접근은 매우 다양하지만, 이 글은 가무악 중심의 공연예술단체를 대상으로 주요 레퍼터리를 조사했다. 이를 통해 고려인들이 소수민족으로서 살아가면서 어떻게 문화적 대응을 하는지에 대해 살펴보았다. 전문적 예술단체 중에 고려극장은 역사성과 영향력이 가장 큰 비중을 차지하는 단체이기에 중점적으로 다루었다. 초기에 주요 공연 레퍼터리는 한국의 판소리계 소설이나 고소설 계통, 전설의 작품화 등이 두드러진다. 근래에 고려극장은 과거의 보수성을 극복하고 다양한 변화를 보이고 있다. 따라서 전통적 작품이 점차 줄어들고 있지만, 핵심 작품은 여전히 공연되고 있다. 다른 전문적 공연단체는 고려극장처럼 종합예술성보다는 대체로 무용을 중심으로 음악을 가미하는 방식으로 공연활동을 하며, 한국춤, 북한춤, 소수민족춤이 망라된다. 비전문적 고려인 공연단체는 주로 60세 이상으로 구성되어 있으며, 합창이 주류를 이루고 율동이 가미된 공연방식을 위주로 한다. 노래는 고려인 창작곡, 연해주 고려인 노래, 북한 노래, 전통민요와 신민요, 한국의 대중가요, 창작곡 등으로 다양하다. 이들은 고려인의 전통적 세시명절을 중심으로 공연활동을 하며, 또한 매년 경연을 통해 선의의 경쟁을 하며 기능을 높이고 있다. 이런 과정에서 상호 긴밀한 유대관계를 형성하고 있으며, 이념을 초월한 남북 관련 예술단체 구성원의 교류도 이루어지고 있다. 그리고 소공동체적 성격을 유지하면서 노래말을 통해 모국어를 습득하고 있다. 전반적으로 고려인들은 소수집단으로 살아가면서, 동화주의나 분리주의를 거부하고 어느 정도 민족정체성을 유지하면서, 주류사회에 적응하고 있다. 그러면서 폐쇄적이지 않고, 타민족의 예술을 적극 수용하고, 한국의 대중문화도 받아들이고 있다. 이들은 공연예술 활동을 통해 상호 긴밀한 유대관계를 맺으면서, 문화적 욕구를 충족한다. 그리고 모국어를 습득하면서, 소공동체 생활을 통해 문화적 정체성을 유지하고 있다.

제1부 / 김재철의 < 조선연극사 > 연구

정형호 한국민속학회 1995 한국민속인물사 Vol.24 No.-

기산풍속화의 분류에 따른 소장처별 특징과 민속학적 의미

정형호 국립민속박물관 2020 민속학연구 Vol.0 No.47

Based on 1089 pieces of Kim Jungeun's genre paintings this paper analyzed and classified Gisan's paintings into 394 types of 9 areas, occupations, social life (punishments, education, transportation, people's life), food, costumes, housing, ritual ceremonies, recreations and games, entertainment, religion, and animals, as its first classification. Paintings are then subdivided into collections with sub-groups of folklore classification to examine characteristics. There are 6 types of seal in Gisan's paintings, and most of the writings or poetries written in all paintings are mostly in Korean, however, some works, collection from Soongsil University and Seoul Museum of History, and very few from Canada collection are written in Chinese characters. To compare with the most prominent genre painters of the Joseon period like Kim Hongdo, Shin Yunbok, Kim Baekgok on the composition and delineation of Gisan genre paintings, Gisan's work exclude or minimize unrelevant surrounding features so that the actual object will be focused. Some tools and sacrificial offerings were depicted in details. When drawing a figure the front view is preferred rather than side and back, which emphasized the realistic view of the objects. Unlike any other genre paintings his work shows rather simple structures, identical face expressions, static movements, but this is because Gisan was producing massive quantities of genre paintings. And some of the materials that should appear in the paintings of the late 19th century are not represented in Gisan's paintings. Features like dure (collective laboring operation), chodong (woodsman), livestock breeding, cooking, thatching, scence of funeral, childbirth and baek-il (100th-day celebration), dol (first year of a child), jwibulnori (traditional game), Gonu game, jangchigi game (Korean polo), biseokchigi game (knocking down stones), jishinbapgi (driving out evil spirits and wishing good fortune), a village guardian and wooden pole of folk belief, statues of gods are hard to find in his paintings. As a male artist who is from the ports of Wonsan he also made a clever choice engaging the customers request, exclusion of other religions and any form of gods in viewing from Christian view, elimination of common customs in general, omission of materials that not covered in the previous model. The reasons for this are the fact that Gisan was originally from Wonsan and was mainly active in major open ports, the limitations of his experience as a man, the selection of materials that meet the viewpoints and needs of foreigners, the omission of the deity of other religions from the Christian viewpoint, and the elimination of generalized and familiar lifestyles. This is due to the exclusion of material not covered in the existing model, and the stages prior to generalization to folk history. The biggest meaning of the folklore history of Gisan genre paintings is that Gisan painted various paintings in a wide range of fields. While the total paintings of genre painters in the late Joseon period only exist in 50 types, Gisan covers a vast field close to 400 types. Also, about 60% of the total paintings are only overlapping one or two works, except for most demanded pieces, which does not seem severe compare to other works. Because Gisan viewed from the perspectives around the world the was able to delineate the everyday lives of underlying culture. It was the opportunity to depict every aspect when drawing to the request of customers. It is a great milestone to the study of Korean folk history Gisan's paintings which shows subjects in a wide range of areas, especially poetries or writings on all paintings. With this regard his paintings are of a great legacy and act as a mediating role between various documents regarding seasonal customs after the late Joseon period and field research data in the 20th century. His vast number of paintings hold mutual relationship with each other, not individually separated. In this...

金在喆의 《조선역극사》연구

정형호 한국민속학회 1996 韓國民俗學 Vol.28 No.1

물

정형호 대한설비공학회 2008 설비저널 Vol.37 No.1

한국 연등회에 나타난 연희와 놀이의 수용양상

정형호 한국어문교육학회 2013 어문학교육 Vol.47 No.-

연등회는 신라시대에 사찰의 불교의식에서 출발하지만, 점차 고려와 조선을 거치면서 민간이나 궁중의 가무악회가 결합된 종합예술적 성격을 지니게 되었다. 시기도 정월대보름(상원) 연등→2월 보름 연등→4월 초파일 연등으로 점차 바뀌어 갔다. 일찍이 백제시대의 탈춤인 기악(技樂)이 불교 포교극적 성격을 지니고 일본에 전파되었으며, 현존 티벳이나 중국 남부의 라마불교사원에서 전승되는 ‘챰’도 여전히 불교 본생담을 바탕으로 축귀적 정화의식의 탈춤이란 성격을 지니고 있다. 한편 조선시대 남사당패를 비롯한 전문예인 집단들이 사찰과 밀접한 관련성을 지녔다는 점을 고려하면 불교의식과 전통연희의 밀접한 연관성을 알 수 있다. 고려시대 연등회에는 왕이 참관한 가운데 사찰에서 채붕이라 하여 비단으로 화려하게 장식한 평면 무대를 갖추고, 다양한 잡희가 행해졌다. 이 때에는 악공이 참여한 다양한 음악 연주가 있고, 기녀들이 추는 처용무·오방신장무와 같은 축귀적 의식무가 등장한다. 그리고 탈놀이, 인형극, 그림자극, 줄타기, 솟대타기 등의 다양한 연희가 이루어졌다. 따라서 고려시대에는 하나의 연등회가 대규모 축제적 성격을 지닌다. 한편 고려 말 연등회 시기부터 화희(火戱)가 등장하며, 조선 후기에 이르면 낙화(落火) 형태의 줄불놀이 유등(流燈)놀이 등으로 다양화된다. 또한 연등회에 어린이 놀이가 등장하는데, 호기(呼旗)놀이는 고려 말기 사월초파일 전에 어린이들이 긴 장대에 종이 깃발을 달고, 성안을 다니며 비용을 추렴하는 놀이형태이다. 수부(水缶)놀이는 조선 말기 사월초파일에 물동이에 바가지를 엎어놓고 두드리며 노는 놀이 형태이다. 연등회는 한국의 대표 축제로서 최근 국가 무형문화재로 지정되었다. 20세기에 들어와서 제등행렬이 연등회의 핵심으로 부각되지만, 이것은 본 행사 이전의 길놀이적 성격을 지닌다. 역사적 전승과정을 고려할 때, 연등회는 불교의식, 관등과 제등, 다양한 연희와 놀이가 어우러지면서 불교사찰, 관청, 민간이 참여하는 대규모 행사로 전승되었음을 알 수 있다. The aim of this article is to study performing arts and play in traditional Korean Lotus Lantern Festival. This festival start in Shilla dynasty and continues from 1500 years ago. The spirit of Lotus lantern festival is to illuminate the darkness with lanterns. Buddhist festival is connected to performing artists for a long time. This festival contains in appreciation lantern and yeong-deung shadowgraph play, falling of blossoms play. And contains in child Hogi play of the koryo dynasty and Subu play of Jasun dynasty. This is appointed national intangible cultural heritage last year and aim at Unesco World cultural Heritage. This start from sacred religious rites originally and became a large scale festival to participate a great number of buddists and private citizens. Lotus Lantern Festival is the only festival which shows the dynamic and energetic Korea as well as its glorious history and traditional culture.

假面劇에 나타난 '중'의 성격 고찰

鄭亨鎬 한국민속학회 1995 韓國民俗學 Vol.27 No.1