임차물의 원상회복

김명숙 ( Myeong Sook Kim ) 고려대학교 법학연구원 2010 고려법학 Vol.0 No.58

The lessee should perform certain restorative and reparative work at the end of the lease period as good as a condition it had been in the beginning of the contract. The amount and the nature of the restoration work may involve destruction of a substantially completed building or other structure in accordance with the contract. Specific performance, including the remedying of a defective performance and/or for damages is the right of the lessor. The right to special performance is irrelevant to the right to damages. But the lessor may ordinarily follow the claim for damages because of the inefficiency and inconvenience of specific performance. The purpose of damage may put the lessor in as good as a condition he would have been in had the contract been performed. It compensates the difference with and without performance, the diminution in the value to him resulting from the failure to render remedial work. The damage for the diminution in the value to him may compensate for the lessor`s actual loss, not the diminution in the market price of the property caused by the breach. The cost of cure is the proper damage in the failure of restoration work. The lessee could not have the right of use and reap the benefit from the contract without the consent of the lessor. The cost of cure is usually less than or equal to the diminution in the market price before restoration work. However, in cases the work to be required by the contract may become useless after its return for use, it may be vexatious to compel to stick to it. And if the cost of cure would be clearly disproportionate to the lessor`s benefits attained, such an award will not be made. A ordinary property owner will not pay the cost upon his property more than the benefits to him from a practical standpoint. The primary purpose of the lease contract between the parties is merely to accomplish to economic recovery and the provisions of the lease contract pertaining to remedial work were incidental to the main object involved. There, completion of the work as contracted would be unreasonable and unrealistic. That is true, damages are limited to the difference in the market value with and without the promised restoration work. It may usually be it easier to prove the cost of cure, but the lessor should not attained the improvement of the reparation work. Besides, it may be impossible to prove the market value of the property because of the market`s deficiency. In such a case, if there is a reasonable alternative to loss in value, he may claim damages based on that alternative, and in the determining the amount of damages, the court may award damage at liberty by means of alternative bases within a reasonable discretion.

재난 강도에 따른 도로 네트워크의 성능 및 회복력 산정 방안

정호용,최승현,도명식 한국도로학회 2018 한국도로학회논문집 Vol.20 No.1

PURPOSES: This study examines the performance changes of road networks according to the strength of a disaster, and proposes a method for estimating the quantitative resilience according to the road-network performance changes and damage scale. This study also selected highinfluence road sections, according to disasters targeting the road network, and aimed to analyze their hazard resilience from the network aspect through a scenario analysis of the damage recovery after a disaster occurred. METHODS: The analysis was conducted targeting Sejong City in South Korea. The disaster situation was set up using the TransCAD and VISSIM traffic-simulation software. First, the study analyzed how road-network damage changed the user’s travel pattern and travel time, and how it affected the complete network. Secondly, the functional aspects of the road networks were analyzed using quantitative resilience. Finally, based on the road-network performance change and resilience, priority-management road sections were selected. RESULTS: According to the analysis results, when a road section has relatively low connectivity and low traffic, its effect on the complete network is insignificant. Moreover, certain road sections with relatively high importance can suffer a performance loss from major damage, for e.g., sections where bridges, tunnels, or underground roads are located, roads where no bypasses exist or they exist far from the concerned road, including entrances and exits to suburban areas. Relatively important roads have the potential to significantly degrade the network performance when a disaster occurs. Because of the high risk of delays or isolation, they may lead to secondary damage. Thus, it is necessary to manage the roads to maintain their performance. CONCLUSIONS : As a baseline study to establish measures for traffic prevention, this study considered the performance of a road network, selected high-influence road sections within the road network, and analyzed the quantitative resilience of the road network according to scenarios. The road users’passage-pattern changes were analyzed through simulation analysis using the User Equilibrium model. Based on the analysis results, the resilience in each scenario was examined and compared. Sections where a road’s performance loss had a significant influence on the network were targeted. The study results were judged to become basic research data for establishing response plans to restore the original functions and performance of the destroyed and damage road networks, and for selecting maintenance priorities.

농악 전승집단의 새로운 생태계 구축과 예능 복원․ 재현의 가치 -고창농악보존회의를 주목하며-

송기태 남도민속학회 2019 남도민속연구 Vol.39 No.-

With the weakening of the traditional foundations for inheriting Nongak, traditional instrumental music of peasants, preservation societies began to be formed to conserve the performing art of Nongak. Villages that still have active Nongak tradition have formed preservation societies, and villages with no active tradition left have formed local preservation societies to establish the system of Nongak and carry out education and performance. Most preservation societies, however, have systems considerably different from those in the traditional environment to pass down Nongak because they were formed for the ‘purpose of preserving Nongak in a state where the community basis had disappeared’. This paper proposes OS 2.0/2.1 to examine the environment for transmitting Nongak tradition that was built by preservation societies, and discusses the art of Nongak according to the division of Nongak Ver.2.0/2.1. The process up to Nongak OS 2.1 focused on expanding the boundary of Nongak. Due to the decline of communities and the sense of duty to preserve Nongak on the brink of extinction, the first step was to establish the prototype of Nongak and increase the number of people to engage in Nongak. This was the reason for the performer-centered transmission of Nongak. As the preservation societies proceeded up to the operating system OS 2.1, there arose the problem of a pyramid structure of transmission system, with its tendency toward centralization of cultural power and standardization of performance. It has been verified that in the performance, various existing forms were recombined to form performance repertories that acquired a prototypical character. Therefore, this paper defines the style of Nongak in the traditional period as Nongak Ver.1.0, and the new types of Nongak performance established by preservation societies as Nongak Ver.2.0. The reason for this classification is that the traditional Nongak and professional Geolgungpae Nongak establish local brands of Nongak, based on the designation as intangible cultural properties and formation of preservation societies in each of the administrative districts. Regarding the establishment of the Nongak Ver.2.0 version of Nongak, this paper pays attention to the constant efforts of the Gochang Nongkak Preservation Society to restore and reproduce Nongak performance. Lastly, this paper discusses the various attempts of the society at transmission and creation of Nongak. The society has been trying to create new forms of Nongak since the 2010, in an effort to move further than the traditional genre of Nongak that was handed down to modern times. New creations have considerable repercussion in Nongak today, and it has been confirmed that the performance regained through reproduction and restoration plays a key role. New creations did not start by forgetting the past; rather, the tradition retrieved by restoration and reproduction was the key to the future. 본고에서는 농악보존회가 구축한 전승생태계를 주목하고, 새롭게 구축된 보존회가 복원과 재현을 거듭하여 전승에 그치지 않고 창작의 단계까지 진행하고 있음을 논의하였다. 고창농악보존회의 사례가 무형문화재의 전반적인 상황을 대표하는 것은 아니지만, 무형문화재 중에서 농악 분야의 보존회 활동이 왕성하고 그들이 전승생태계를 새롭게 구축하는 데 앞서가고 있기 때문에 현 단계에서 농악보존회를 주목할 필요가 있다. 고창농악보존회는 그동안 농악의 외연을 확장하는 데 초점이 있었다. 공동체의 쇠락과 함께 존폐의 위기에서 농악을 보존해야 하는 사명감 때문에 우선 농악의 원형을 정립하고 농악인구를 늘리는 데 힘을 쏟을 수밖에 없었다. 그래서 농악의 전승이 연행자 중심의 구도에 머물러 있었다. 보존회는 변화를 거듭하면서 피라미드식 전승시스템을 구축하였는데, 그것이 문화권력의 집중화, 예능의 획일화 등의 문제를 발생시키고 있음을 파악하였다. 예능에 있어서는 기존의 다양한 형태가 재조합되어 원형성을 획득한 예능물이 형성되기에 이른 것으로 파악하였다. 그래서 본고에서는 전통시대에 전승되던 농악의 형태를 Ver.1.0으로 설정하고, 보존회가 구축한 새로운 원형의 예능을 Ver. 2.0으로 규정하였다. 전통시대의 마을농악과 전문 걸궁패 농악이 행정구역 단위의 무형문화재 지정과 보존회의 결성을 기반으로 지역 브랜드 농악을 성립시키기 때문에 버전을 다르게 규정한 것이다. Ver. 2.0의 농악 성립과 관련하여 고창농악보존회에서 예능의 복원과 재현을 위해 끊임없이 노력해 온 과정을 주목하였다. 끝으로 보존회에서 다양하게 시도하고 있는 농악 전승과 창작과 관련해 논의하였다. 보존회에서는 2010년대 이후 농악의 전승에 머물지 않고, 새로운 창작을 시도하고 있다. 새로운 창작물이 농악계에 작은 반향을 일으키고 있는데, 재현과 복원으로 되찾은 예능이 핵심적 역할을 하고 있음을 확인하였다. 이와 관련하여 새로운 창작의 세계가 과거를 잊는 데에서 출발하는 것이 아니고, 오히려 복원․재현으로 찾아낸 전통이 미래를 밝히는 열쇠가 되고 있음을 논의하였다.

도시재생사업의 핵심성공요인 도출에 관한 연구 - 메가 프로젝트 건설관리 관점의 성과측정시스템을 중심으로 -

김상원,신규철 대한건축학회지회연합회 2008 대한건축학회지회연합회 학술발표대회논문집 Vol.2008 No.1

Urban restoration projects as mega projects may face potential loss and failure because of less experiences in domestic practice. Therefore project management system is required to measure the performance by factors of success and failure at the earlier stage of the project. Managing performance indicators of success and failure are able to lead the project successful and effective performance. This research present the methodology of defining critical success factors and developing performance indicators in urban restoration projects.

퍼포먼스 연구의 시각에서 본 한국연극학의 새로운 접근방법 -한국연극의 전통수용을 중심으로-

김용수 ( Yong Soo Kim ) 한국연극학회 2006 한국연극학 Vol.0 No.29

Introducing the theory of performance studies as a new approach to Korean theatre studies, the paper attempts to reexamine the utilization of tradition in Korean theatre from the new perspective. According to the theory of `restored behaviors` in performance studies, the utilization of tradition can not avoid the transformation because it recombines the traditional elements in the process of restoration. This transformation memorizes the past in a specific way, not only reflecting but also redefining our cultural identity. Based upon this theoretical approach, the paper attempts to study the theatrical utilization of tradition, asking the following question: what kind of behaviors does it restore, and how does it memorize and signify Korean view of life through the recombination of restored behaviors? At the level of restoring behaviors, the utilization of tradition in Korean theatre works within a `system.` The system is divided into (1) the restoration system of tradition and (2) the modernization system so as to seek the modernization of tradition. The restoration system of tradition is again divided into ① shamanic form, ② mask dance form, ③ traditional form, and the modernization system is divided into ① the use of modern theatre, ② the use of modern issues, ③ the use of modern activities. The plays utilizing tradition express Korean view of life, working within the above system. <Muldoridong> shows the life dominated by the shamanic horror, which is overcome by the shamanic mysticism. It also depicts, through the mask dance form, the life filled with the struggle of desire and power. At this point the shamanic and mask dance forms collide with the musical form that praises the power of pure love, thus implying the conflict between tradition and western culture. Employing the shamanic form, <What it will be> depicts the death of grudge(怨恨) which is responded by the useless buffoon acts in interludes. Consequently the life of grudge is signified from the view of the theatre of the absurd. This viewpoint of the absurdity is also employed to see the life filled with the sexual plunder and the violence that is activated by the traditional customs and social system. The result is the westernization of tradition. <O-Gu: the Form of Death> attempts to restore Korean form of death through the shaman rite and funeral, which is transformed into the cheerful play by the principle of laughter. As a result, the shaman rite and funeral are filled with activities deviated from the formal norms, depicting the life in which the deviation is the rule. The deviation from norms is a sort of ugliness. The ugliness, including snobbery such as worldly desire, appetite, and sexual desire, is expressed as a pleasant activity by the principle of laughter. The result is the spirit accepting the deviation and Philistinism as a source of vital life. In spite of individual differences, the utilization of tradition employs a stereotyped scheme, that is, the shamanic world view. Thus we need to restore our tradition through the newer and more diversified viewpoint in order to seek the new vision of life. From the above facts, it is plain that the utilization of tradition creates a specific world of spirit as it is recombined with the various theatrical views and activities. Thus the paper proposes to take performance studies as a new way of studying the cultural identity that is reflected and redefined in Korean theatre.

오태석의 《앞산아 당겨라 오금아 밀어라》 퍼포먼스 연구

김향 ( Hyang Kim ) 한국연극학회 2004 한국연극학 Vol.0 No.22

This study investigated the performance theory of Oh, Tae-Seok`s work 《Push Ahp-san! Pull Oh-gum!》. Oh, Tae-Seok combines the Cheju uprising, the Cheju dialect, his personal experiences, and imaginary characters as themes and invites the audience to experience these things. This kind of creative principle is consistent with performance theory that attempts to reflect social problems in the work in order to establish a personal and group identity. This work investigated the creational principles of the work, internal principles and actors performances brought about through dramatic restored action, and the experience of the audience. The following characteristics were identified. This work combined the Cheju April 3rd uprising with Oh, Tae-Seok`s experiences during the Korean War to create a Yeo-ban-jang structure. This structure intends to illustrate the point that in Korean society, even if the government changed, innocent people were continually sacrificed. The stage represented a battlefield and the fact that it could change to a scene of play demonstrated that this was a subjunctive experiment and a space of liminality. By utilizing certain sound effects, stage props, and characters, a Cheju village, the sea, mountains, a prison, Sakeri, pasture lands, and time and space were portrayed as in constant flux. In this work, such restored actions as arson, mass murder, and making a sacrificial lamb serve to illustrate the contradictions in ideology. In this confrontational relationship, not only are the police and military conflated with the state itself, but by having armed groups and guerilla groups attack innocent civilians, the author is deconstructing the traditional relationship between victim and aggressor and seeks the transfer of power to civilians in what can be interpreted as performativity. The cast includes a subjective character named Maeng, Gu-Ja who helps a youth overcome a past grudge and, by establishing a monument to the local ancestors, pushes the story to its conclusion with themes of forgiveness and reconciliation. The roles of Maeng, Gu-Ja and a maiden are played in a trance-like state that gives rise to a flow-like performance. Through mutual communicability, theatrically expressed for the sake of forgiveness and reconciliation by Didimboolmy, aggressive tendencies are given a safe outlet which serves to offer the possibility of restoration. A questionnaire given to theatergoers revealed that the actors intentions were clearly conveyed to the audience by means of not only the speech and dialogue of the play, but also through non-verbal theatrical language such as facial expressions, body language, and stage props. As can be seen from the above-mentioned characteristics, this work shows that the problem of ideology has not been solved in personally and socially constructed consciousness. The work makes the point that the causes of this phenomenon are not limited to external ones but include the tendency on the personal level of neglecting to deal with antagonisms allowing them to fester.

조선시대 양로연 음악의 현대적 공연콘텐츠 복원 연구

이동희 한국국악교육학회 2019 국악교육 Vol.48 No.48

This research is aimed at restoring the ‘Yangroyeon’(a banquet for in honor of the aged in Joseon Dynasty), which was preached for the realization of the virtues of kings in the Joseon Dynasty and ideal national construction, to a modern performance. In order to restore, this study was designed to historical evidence by analyzing various materials related to music such as the Annals of the Joseon Dynasty, Gukjo Oryeui, Gukjo Sok-oryeui, Chungwanji and Akhakgweom and so on. The period when you can take a closer look at the music of ‘Yangroyeon’ during the Joseon Dynasty is the reign of King Sejong, Seongjong, Sukjong, Yeongjo and Jeongjo. The music used in ‘Yangroyeon’ was different from period to period, but the combination of ‘A-ak’ and ‘Sok-ak’ was common, among them ‘A-ak’ was mostly retrievable even if it wasn’t played today. On the other hand, because ‘Sok-ak’ is difficult to restore the music from the old scores, we need to look at the direction of using ‘Sok-ak’ played today and consider the variable possibilities of the composition of the folk music repertoire based on Akhakgweom. In the case of ‘Hwailgok’ used in King Jeongjo’s ‘Yangroyeon’, the method of saving lyric should be taken as it is directly linked to the filial piety, which is the core of the ‘Yangroyeon’ restoration project. When looking at the music of ‘Yangroyeon’ in its entirety by period, it is most possible to restore and have a live relationship with the old from the Jeongjo era, so the music of ‘Yangroyeon’ should be reconsidered based on this. However, we will also have to look at other ‘Yangroyeon’ music, which has been highly sought to diversify performance content. Kings of the Joseon Dynasty have been constantly agonizing over the use of music and the practice of ‘Yangroyeon’ and the spirit of which should still be inherited today. Further discussions on the direction of future restoration of music should be discussed in detail, and I hope that the contents analyzed in this article and the stated direction will serve as a cornerstone for restoration. 본 연구는 조선시대 왕들의 덕치 실현 및 이상적인 국가 건설을 위하여 설행되었던 양로연을 현대적 공연콘텐츠로 복원하기 위하여 양로연 중 음악과 관련된 사항들을 『조선왕조실록』, 『국조오례의』, 『국조속오례의』, 『춘관지』, 『악학궤범』 등의 문헌 및 각종 도상자료를 분석하여 역사적으로 고증하고자 하였다. 조선시대 양로연의 음악 내용을 소상히 살펴볼 수 있는 시대는 세종조, 성종조, 숙종조, 영조조, 정조조가 있다. 양로연에 사용된 음악들은 시대별로 상이하였으나 아악과 속악을 겸하는 현상이 일반적이었고, 그중 아악은 오늘날 연주하는 음악이 아님에도 대부분 복원이 가능하였다. 반면 속악은 고악보에 수록된 음악을 그대로 복원하기 어렵기 때문에 오늘날 연주되는 속악을 사용하는 방향을 모색할 필요가 있으며, 『악학궤범』을 근거로 하여 속악 레퍼토리 구성의 가변적 가능성을 생각해 보아야 하겠다. 정조조 양로연에 사용했던 화일곡(化日曲)의 경우 양로연 복원사업의 핵심인 효(孝) 사상과 직접적으로 연계되므로 악장을 살리는 방법을 강구해야 한다. 시대별 양로연의 음악을 전체적으로 조망해 보았을 때 정조조 양로연의 복원과 실연이 가장 가능하므로, 이를 기준을 양로연의 음악을 재고해야 하겠으나, 공연콘텐츠의 다양화 모색을 위해 고증된 다른 양로연 음악들도 살펴보아야 할 것이다. 조선시대의 왕들은 양로연의 설행과 용악(用樂)에 대하여 지속적으로 고민해왔고, 그러한 정신은 오늘날에도 마땅히 계승되어야 한다. 향후 음악의 복원방향에 대한 논의가 구체적으로 더 논의되어야 할텐데, 글에서 분석한 음악적 내용들과 그 내용들을 토대로 제언한 방향성이 복원을 향한 초석이 되기를 희망한다.

한국의 1세대 무대미술가 김정환 소장 작품 디지털 복원 연구 : 남해국제탈공연예술촌 소장품을 중심으로

강춘애,박미란 이화여자대학교 한국문화연구원 2016 한국문화연구 Vol.30 No.-

무대디자인은 연출가와 무대디자이너가 콘셉트(concept)의 일치를 이루며 협력과정에서 작품 해석에 대한 사고를 진전시켜 나간다. 무대디자이너와 연출가와의 의사소통 수단인 ‘무대디자인 스케치’, 무대장치의 형태와 제작 방법, 배치, 전환 방법 등을 제도한 ‘도면’, 완성된 무대장치를 축소하여 입체적으로 만든 ‘무대모형’, ‘재료의 샘플’, ‘사진’, 제작과정에서 생성되는 무대미술(장치, 조명, 의상, 소도구) 자료는 작품의 복원 기술정보에 중요한 데이터가 된다. 한국의 1세대 무대미술가 김정환(金貞桓, 1912~1973)의 생전 작업과 그가 남긴 공연예술의 다양한 장르에 걸친 무대미술 자료는 동시대 한국연극사를 재조명할 기회를 준다. 공연기록사의 한 예로, 본 논문에서 밝힌 남해국제탈공연예술촌 소장 일본 가스가이시민회관(春日井市民會館)의 무대 평면도 한 장은 1970년 5월 5일에서 11일까지 국립극장에서 공연된 이해랑 연출의 <원술랑>공연이 그로부터 6일 지나서는 양완옥 연출로 아이치한청문화제(愛知韓靑文化祭)에 초청되었다는 것을 입증한다. 그러나 국립극장사 공연 연표의 해외 공연목록에는 누락되어있기 때문에 <원술랑>의 평면도 한 장이 한국공연의 해외진출에 대한 국외 자료조사가 거의 전무하다시피 한 사실을 확인시켜 주었다. 김정환은 1930년대부터 1973년까지 입체적 무대를 만들기 위해 노력하였고, 장면 전환을 원활하게 하여 연출가와 배우에게 확장된 연기공간의 사용 가능성을 제시하였다. 현재 남해국제탈공연예술촌에 소장된 그의 자료는 장면스케치와 스케일에 맞춰 그린 정면도와 평면도, 원근법으로 그려진 무대스케치가 있다. 그리고 공연대본에는 아이디어 스케치가 있어서 일정 부분 연구가 가능하다. 한국의 1세대 무대미술가는 근현대 공연예술의 모든 장르에서 폭 넓게 활동하였다. 한국 무대미술에 끼친 그의 선구자적 공로에 비해서, 그의 무대미술영역의 활동에 대한 구체적 연구가 이루어지지 않고 있다. 남해소장본의 총 42개에 이르는 장르별 작품 분류는 종합적으로 연구되어야 할 과제이다. 따라서 본 논문은 한국의 1세대 무대미술가 김정환의 업적을 남해 소장 작품을 중심으로 그가 남긴 1940년부터 1973년까지 자료를 유형별로 분류하고, 보존관리를 위한 디지털 복원을 시도한 6작품과 디지털 복원이 가능한 총 36 작품 목록을 도표로 정리하였다. 이는 앞으로 향후 무대미술사 뿐만 아니라 한국연극사 연구에 있어서 중요한 자료의 공백을 메울 수 있을 것이다. A stage designer develops ideas about interpreting and developing the concept of a play in cooperation with the director. His means of communication with directors are stage design sketches; shaping stage props; methods of production, disposition, and conversion; models of the stage; and photo materials and samples of materials that provide technical information. The materials produced during the process become important data for studies of the practices of directing, stage design, and performance. The works and legacy of Jeong-Hwan Kim (1912-1973), a first-generation stage designer, give us the opportunity to reconsider the history of South Korean theatre. For example, the collection at the Nam-Hae Masks and Performing Arts Village contains a stage drawing of Kasugai citizen’s hall showing that Wonsul Rang, directed by Lee Hae Rang for the National Theater of South Korea from May 5thto11th,1970,was also performed at the Aichi Korean Youth Cultural Festival on the 17th under Yang Wan Ok’s direction. The National Theater’s over seas per for mance record omits this. Jeong-Hwan Kim produced three-dimensional performances from the 1930s until 1973 and worked to make scene-conversion easy in order to extend acting areas to directors and actors. His design materials at the Namhae Arts Village include drawings of scenes, front views, ground plans, and drawings of perspective-sketching. In addition, there are idea notes in his scripts that make it possible to restore his stages digitally to a certain extent. This research analyzes Kim’s materials at the Namhae Arts Village that were produced from 1940 to 1970 and classified according to his working eras. From the analysis, it lists six digitally-restored works as well as thirty-six digitally-restorable works in the forms of tables. The criteria for restoring methods and listings were built upon the restoration process and results of Faust (May 13-17, 1970) and Oedipus Rex (April 8-14, 1967). Jeong-Hwan Kim did the scenography of Faust twice. One appears in an interview on June 12th, 1968 with director Hang-SeokSeo, who also trans lated the script in 1966. The other, kept at the NamhaeArtsVillage, is HaeRangLee’s production for the theatre company Shin-Hyeob(May13-17,1970). The one found in the National Theatre archiveat Myungdong is Jong-seon Jang’s sceno graphy for the production directed by HaeRangLee from June 19 to 24, 1968. The first generation of South Korean stage designers took an active role in all genres of South Korean modern performing arts, but their works have not been sufficiently examined in light of their pioneering contributions to the field of South Korean stage design. Forty-two works in the list are included for future studies in each genre. I anticipate that Jeong-Hwan Kim's sketching materials in the Nam-Hae Village will enable future researchers to fill gaps in the current literature.

복원된 문화유산을 활용한 향유여건 조성방안 : 국립국악원의 공연사례연구를 중심으로

황경숙(Hwang Kyung Sook),백재화(Back Jai Hwa) 국립국악원 2009 국악원논문집 Vol.19 No.-

문화는 역사보다 시시각각 처하게 되는 현재적 시점에 탄력적으로 작용하는 현상이다. 역사만큼 거창한 틀을 지닌 문화는 현대의 발전상과 더불어 그 변모를 하루가 다르게 보여주고 있다. 다문화의 향유, 개성의 색채라는 표상 아래 우후죽순과 같은 수많은 현상들이 한낱 유행과도 같은 현상임에도 불구하고 문화인양 혼돈의 형태로 이 시각, 우리의 사회현상으로 존재양상을 보이고 있는 지금, 전통문화는 보존되어야 살아남고, 활용되어야 발전할 수 있으며, 국가적 정통성을 확보하는데 반드시 필요한 필수불가결한 포괄적 문화형태이다. 전통문화는 우리문화의 뿌리이며, 주체성의 원천인 것이다. 21세기 문화의 세기에 문화경쟁력은 우리의 전통문화와 전통예술에서 나온다고 할 수 있으며, 또 그래야만 한다고 힘을 실어 말하고 싶다. 전통문화예술은 다양한 문화예술의 근간이며 다변화된 세계에 자랑스럽게 내놓을 수 있는 우리 민족의 기본정신인 것이다. 문화의 세기 라는 말이 세간의 화두가 된 이래 문화로 향한 관심이 사회 전 분야에서 부각되고, 더불어 우리 전통문화의 중요성에 대한 인식도 그 어느 때보다 확산, 고조되었다. 우리 것, 가장 한국적인 것은 곧 전통에 바탕을 둔 문화요소를 의미하지만 이러한 문화적 조류의 배경에는 우리의 전통만이 세계 다른 지역의 문화와 구별되는 특수성으로 대우받을 수 있는 것을 가정할 수 있다. 이 가정 속의 의도는 곧 우리의, 우리만의 문화적 특수성을 간직한 전통문화가 대내적으로는 문화적 정체성을, 대외적으로는 문화적 우수성을 담보한다는 점이다. 본 연구는 문헌 및 선행연구 고찰을 중심으로 한다. 특히 전통문화의 복원과 재현을 중점적으로 행하는 국립국악원의 공연사례연구와 비교가 이루어졌으며, 현재 이루어지고 있는 전통문화의 복원을 통해 다각적이고 현실적인 문화수용 단계의 방안을 제시하는데 목적이 있기에 국립국악원의 사례연구를 통해 방안 제시가 주된 연구 방법이다. 국립국악원의 극장공연에서는 전통문화원형의 고수라는 기틀위에 프로시니엄 극장적 특성효과가 자아낼 수 있는 재미의 요소를 첨가하는 기본 틀로 작품의 특성화를 삼자는 제안이다. 전통문화의 재현과 전승이라는 양대 산맥의 화두를 세계적 문화시대에 맞춰 국제적인 위상과 후속세대로의 문화적 물림에서 가장 효율적인 방안으로 차별화되고 활성화된 접근방식을 택하자는 것이다. 또 다른 제안은, 조금 더 활성화된 방안으로, 서울시에 존재하는 가시적인 전통건축 유산물인 경복궁, 창경궁, 경희궁과 같은 상징적인 역사물의 궁 안에서 행해지는 국악원의 작품재현형태이다. 무대 위의 재현작업이 아닌, 그 옛날 궁에서 행해지던 지리적인 공통점에 재현의 주안을 두는 것을 말한다. 쉽게 말해 실사와 같은 재현작업에 총력을 기하는 공연은 궁궐 안에서 이루어져야 한다고 본다. Traditional culture is our roots of cultures and the source of subjecthood. In the 21 century, the culture periods, cultural competitive power comes from our traditional cultures and arts and also it should be. Traditional cultures and arts are the roots of various cultures and arts and our national fundamental spirits which can be introduced very proudly all of the world. Since culture century has a topic of conversation interests about cultures have increased all of the field in the society. In the mean time, perceptions related to importance of our traditional cultures have been spread and risen dramatically. As ours or the most Korean style mean cultures component based on tradition, our tradition only can treat distinctiveness and differ from other countries cultures. This could be explained that our distinctive traditional cultures guarantee cultural identity domestically and demonstrate superiority internationally. This study was conducted by examining sundry records and previous studies. Especially this study utilized case study of the National Classical Musician which performed restoration and reappearance of traditional cultures. The purpose of this study was to propose a plan for diverse and actual culture acceptance steps through restoration of traditional cultures. This study proposes hat fun factors should be added to effect proscenium stage characteristics on the foundation to stick to original tradition cultures when performances are held in the National Classical Musician. It could be the most effective way to enhance international position and transmit our traditional cultures to the next generations when recently the topic of condensations are reappearance and transmission of traditional cultures. Another proposal is the reappearance of the National Classical Musician performs art works in the historical palaces such as Kyngbok Place, Changgyeong Place, and Kyunghee Place in Seoul. This is not a meant that just reappearance works on the stage, but focusing on reappearance of geography common. In other words, actual art works to reappear must be performed within the Place. This works could effect positively on various benefits in many ways. Because the Place is located in Seoul, many domestic or foreign tourists are likely to visit to view the performances. Particularly it is expected that a lot of family units and students will visit the Place. This study wants to emphasize that the most perfect tradition culture reappearance is intangible cultural assets will be actually performed in the Place exists tangible historical treasures.

‘만석중연희’의 존재 양상과 그 복원에 관한 연구

허용호(Heo, Yong-Ho) 한국민속학회 2020 韓國民俗學 Vol.72 No.-

그동안 만석중놀이에는 ‘한국 유일의 전통 그림자 인형극’이라는 가치와 ‘흔치 않은 불교적 포교극’이라는 의의가 부여되어왔다. 하지만 우리에게 만석중놀이의 실체는 많이 알려지지 않았다. 본 연구는 바로 이러한 상황에서 출발한다. 필자의 문제의식은 ‘만석중놀이에 부여된 가치와 의의에 부합하는 연구가 뒤따라야 하는 것이 아닌가?’로 정리할 수 있다. 한 걸음 더 나아가 ‘만석중놀이에 부여된 가치 평가가 적절한 것인가?’ 하는 문제의식도 필자는 가지고 있다. 이러한 문제의식에는 만석중놀이가 하나의 형태가 아니라는 생각이 자리한다. 만석중놀이의 형태가 하나가 아님에도 불구하고, 하나로 귀착시켜 그 가치와 의의를 평가하는 오류가 나타난다고 생각하는 것이다. 필자는 본 연구에서 이러한 문제의식을 해결해 보고자 했다. 본 연구는 만석중놀이와 연관된 여러 자료를 검토하고, 만석중놀이의 실체를 파악하는 논의로 시작한다. 여기서 필자는 만석중놀이를 고정적인 하나의 형태로 보지 않았다. 이것은 만석중놀이의 통시적인 변화를 보겠다는 의미만은 아니다. 공시적 혹은 동일한 시기에 서로 다른 형태를 띠면서도 만석중이라는 등장인물을 공유했던 연희들까지 아울러 살펴본 것이다. 만석중놀이라는 특정한 종목을 고찰한 것이 아니라, 다양한 만석중 관련 연희에 관한 고찰을 한 것이 본 연구이다. 필자가 ‘만석중연희’라는 용어를 사용한 이유가 여기에 있다. 다양한 만석중 관련 연희에 관한 고찰은 유형 분류로 이어진다. 하나가 아닌 다양한 양상의 연희로 존재하고 있기에, 그것들을 분류할 필요가 있었다. 그리고 각 유형에 따른 연희 형태와 성격을 살폈다. 더불어 각 연희에서 등장하는 만석중의 정체 역시 따져보았다. 이어서 본 연구에서는 현재 복원되어 연행되는 만석중 관련 연희를 살펴보았다. 특히 우리나라 유일의 그림자 인형극이라 평가받는 복원된 만석중놀이를 중점적으로 살펴보았다. 복원된 만석중놀이에 대한 비판적 검토와 이후 전승 방향에 대한 의견을 피력한 것이다. There is something called Manseokjung nori in our traditional performance. There is always the modifier “Korea’s only traditional shadow puppet play.” In addition, the meaning of “a rare Buddhist missionary drama” is also given. However, the true nature of Manseokjung nori is not very well known to us. This study starts right here. The problem I have begins with a simple question : Shouldn’t we conduct research that matches the value and significance given to Manseokjung nori? Going a step further, I have another question: Is the valuation given to Manseokjung nori appropriate? This question is based on the belief that Manseokjung nori is not one form. Even though the form of Manseokjung nori is not one, I think there is an error in assessing its value and significance by returning to one form. I would like to discuss these questions and hypotheses in this study. The process of solving the questions I raised and proving the hypotheses is the content of this study. This study begins with the discussion of examining various data related to Manseokjung nori and identifying the true nature of Manseokjung nori. Here, I do not see Manseokjung nori as a fixed form. This does not just mean that I will see a diachronic change in Manseokjung nori. The study also looks at performances that shared the central character of Manseokjung while taking different forms during the synchronic or the same period. Specifically, the study is not about one Manseokjung nori, but about the various performance related with Manseokjung. Therefore I used the term ‘Mansukjung performance.’ The consideration of various performances related to Manseokjung leads to the classification of types which is necessary to classify because they exist in various aspects of performance, not in one performance. I also looked at the form and character of performance according to each type. In addition, I examined the identity of the Manseokjung appearing in each performance. In particular, I focused on the restored Manseokjung nori, which is regarded as the only shadow puppet play in South Korea. I expressed my opinion on the critical review of Manseokjung nori and the direction of transmission.