성년의례 「입사춤(Initiation dances)」의 전개양상 고찰

이병옥 ( Byoung Ok Lee ) 대한무용학회 2004 대한무용학회논문집 Vol.40 No.-

신라 오기(五伎)와 영남지방 탈춤의 전승양상 비교

이병옥 ( Lee Byoung-ok ) 무용역사기록학회 2007 한국무용사학 Vol.6 No.-

오기(五伎)는 통일신라악의 가무백희(歌舞百戱)의 내용을 가장 구체적으로 보여주는 기록이며, 중국과 서역 전래의 무악(舞樂)과 산악(散樂) 등에서 영향받은 삼국과 통일신라의 종합놀이임을 알 수 있다. 오늘날 영남지방의 탈춤 유형들은 신라오기와는 비록 1천1백년이 넘는 시차를 지니고 있으며 역사적 변천을 거듭하여왔다. 그러나 한국의 향도민속은 근대이전까지 잔존양상이 양호한 편이어서 고대의 흔적을 여러 면에서 엿볼 수 있다. 탈춤의 역사적 관점에서 볼 때 서역의 산악백희가 중국과 한국과 일본 등의 주변국에 전파되어 근대까지 전승되었듯이 한반도에서도 신라오기에서 현대의 영남지방 탈춤으로 전승된 것을 반증한다. 민속학적 측면에서도 오늘날 한국 각 지방의 향토민속의 뿌리는 대체로 삼국시대에 지방에 정착된 민속예능이 근대까지 전송되어 지역적 특성을 나타내고 있는 것으로 보기 때문에, 역시 영남지방 향토탈춤의 근간을 삼국시대로 거슬러 올라가 찾아볼 수 있는 것이 바로 신라 오기라고 할 수 있다. 연희적인 측면에서 볼 때, 산악백희가 여러가지 곡예와 잡기와 탈춤 등의 레퍼토리가 시대에 따라 변모과정을 거쳐 현대에 전승된 것으로 보면 오기의 다섯 종목은 오늘날 영남지방의 지신밟기와 대광대패의 놀이종목과 유사성이 많다는 점이다. 특히 금환(金丸)은 잡기종목으로 반인(泮人), 재인(才人), 광대(廣大) 등 전문예인들의 연희종목이었으나 근대에는 마을중심의 탈출 연희패들이 전승하면서 곡예잡기보다는 가장행렬 같은 길놀이와 탈춤으로 변모·전승되었다. 또한 월전(月顚)은 서역 우전국(于?國, 지금의 和? khotan지방)에서 전래된 가면무의 일종으로 골계회(滑稽戱), 경희극(經喜劇), 가면인형극, 향도적 골계가무(滑稽歌舞), 곱추춤 등으로 이해되는 것과 영남지방 탈춤이 타지방보다 유난히 병신춤, 곱추춤, 문둥이춤, 봉사춤 등의 풍자춤이 많은 것과 연관성이 깊어 보인다. 대면(大面)은 당대오기의 하나인 대면회(大面戱)나 일본의 좌방악 난릉왕(蘭陵王)과도 비교되는 일종의 구나무(驅儺舞)인데, 영남지방 탈춤에서 지연광대탈이나 말뚝이 탈이 타지방에 비해 유난히 큰 대면이란 점에 점과 채찍을 들고 방울소리를 내면서 구나적인 성격이 더욱 유사성을 보여준다. 속독(束毒)은 중앙아시아의 Tashkent와 Samarkant일대의 속특(粟特, Soghd)제국에서 전래된 건무(建舞)의 일종으로 곱슬머리 남빛 가면을 쓴 벽사진경의 춤이라고 하는데, 영남지방 탈춤에서 국내 유일한 남색가면도 있을 뿐만 아니라 대동놀이적인 탈춤이 풍농과 안영을 비는 성격이 유사성을 가지고 있다. 산예(?猊)는 서역에서 들어온 사자무로, 북부지방과 영남지방의 탈춤에서도 사자춤이 전승되고 있다. It is concluded that Ogi is a comprehensive mask dance which has been influenced by China and its adjacent western countries. Today`s mask dances of Yongnam region have a long history of more than 1,000 years. Nevertheless, they have been well preserved which enables us to find ancient features out of them. It seems that the mask dances has been inherited through the periodic changes of various ancient performances. And parts of O-gi have several similarities with Jisinbalgi and daekwangdaepae of Youngnam region. First of all, `Keumhwan` is a kind of miscellaneous circus. It had performed by expert artists, but mask dance performers began to substitute for them in the modern age. So it has changed into sort of parades. Secondly, "Woljeon" is a type of comic mask dance influenced by the countries bordering western China. It is related to sarcastic dances such as cripple dance, hunchback dance, and blind man dance. Besides, `Daemyun` is a dance to evict evil spirits. The clown masks in Youngnam mask dance have a similarity with it in that both have a feature to expel the devil. `Sokdok` was also performed in order to drive the evil spirits away. The performers wore indigo masks, and such dark blue mask are found in the Youngnam mask dance. `Sokdok` was introduced from Tashkent and Samarkant. Finally, `Sanye` is a Lions` mask dance introduced from the western China. Northern area of Korea and Youngnam region have such lion mask dances nowadays.

경산자인단오제의 정체성과 발전방향 경산자인단오제 연행의 분야별 문제와종합적 개선방안

이병옥 ( Byoung Ok Lee ) 한국공연문화학회 2009 공연문화연구 Vol.0 No.19

Gyeongsanjain Dano Festival is a local festival of Yeongnam that was initially designated as Intangible Cultural Heritage No. 44 Hanjanggun Nori in 1971 and finally became Gyeongsanjain Dano Festival in 2007. At first, few parts of it were designated for preservation and it was succeeded as a whole without connections between each part. Problems also rise from the fact that it has not been closely studied. Gyeongsanjain Dano Festival is mostly classified into five parts: Keungut, Yeowonmu, Hojanggut, Hanmyoje, and Jainpalgwangdae. This study has closely discussed each part as follows: 1. Keungut 1) Process and Contents of Keungut-Characteristics of Gut in Daegu and Gyeongsan 2) Presence of Performers that can Execute Traditional Gut of Local Area 3) Problems with the Name of Keungut-Ex: `Hanjanggungut` or `Keungut` 4) Problems of Dano Festival without Parts to Summon and Send off Spirits before and After Keungut and Restoration Measures 2. Yeowonmu 1) Essence of Yeowonmu and Yeowonhwa 2) Problems with the Mass Game of Hundreds of High School Girls 3) Origin and Succession of Yeowonmu 3. Hojanggut 1) Changes in Characters of Hojanggut 2) Composition and Characteristics of Hojanggut 3) Problems with the Name and Characteristics of Hojanggut 4. Jainpalgwangdae Nori 1) Similarity with Newly Created Shows 2) Problems with the Name of Palgwangdae 3) Difference with the Composition of Other Mask Dances 4) Dances and Movements Distinguished from Other Mask Dances in Yeongnam. The following are the solutions suggested for Gyeongsan Jain Dano Festival. First, for the restoration of Gyeongsanjain Dano Festival, Dano festivals and Byeolsinje of nearby areas with clear traditions could be benchmarked. Second, the major content of Gyeongsanjain Dano Festival is `Hanjanggungut,` and it has to be the leading content of the festival. Third, the structural principle of Korean festival must be adopted and the process and principle must correspond to those of other traditional shows. Fourth, as Gyeongsanjain Dano Festival is the comprehensive form of art, folk, and festival, each part must be closely related in a well-planned scenario. Fifth, Intangible talents and successful training must be widely acknowledged for successful transmission and responsible performances. Sixth, traditional festivals must be restored along with the discovery and development of various festival repertories and spectacles such as tour programs and experiential tours that contribute to local economy.

인문 , 사회과학논문 : 한국 무속에 나타난 북방계와 남방계 춤 특징의 인류학적 고찰

이병옥(Byoung Ok Lee) 대한무용학회 2001 대한무용학회논문집 Vol.30 No.-

한국 전통춤의 분류와 양식적 특징 -정병호의 분류법 검토를 중심으로-

이병옥 ( Byoung Ok Lee ) 한국공연문화학회(구 한국고전희곡학회) 2013 공연문화연구 Vol.0 No.27

이 연구는 전통춤의 유형을 분류하고 장르별로 양식적 특징을 비교하여 한국전통춤의 근원적 특징을 고찰하는데 있다. 전통춤의 분류는 정병호의 분류법을근간으로 문제를 보완하여 정병호?이병옥의 분류법으로 재정립하였다. 그 특징은 ①대분류로 일반화된 2대 분류(궁중춤, 민속춤)를 인정하고 상분류에서 정병호의 4분류법을 수용하여 상호문제를 해결하였다. 즉 궁중춤은 향연춤, 제례춤으로 분류하고, 민속춤은 의례춤, 민간춤, 예인춤으로 분류하였다. ②대?상?중?하분류까지 4단계로 하위분류하여 전통춤 모든 종목을 분류하는 유형분류법을마련하였다. 그중에서 특히 예인춤은 기방계춤, 재인계춤, 신당계춤의 분류를 주목할 수 있다. ③여러 가지 분류방식도 상황에 따라 필요하겠지만 기능적, 직능적, 사회적, 예술적 개념을 종합한 통합분류로 정립하였다. 이어서 전통춤의 분류법에 입각하여 유형별로 양식적인 특징을 고찰하고 상호 비교하였다. 특히 전통춤 2대 분류인 궁중춤과 민속춤의 양식적 특징을 비교하였고, 예인춤의 양식적 특징을 고찰하고 하위분류인 기방계춤, 재인계춤, 신당계춤의 특징을 비교하였다. 또한 민간춤의 특징과 의례춤의 특징을 각기 고찰하였으며, 민속춤의 하위분류인 민간춤, 예인춤, 의례춤의 양식적 특징을 비교표로 정립하였다. 끝으로정병호와 이병옥이 정리한 한국 전통춤의 원형적 요소가 되는 신체부위별 춤사위의 양식적 특징을 살펴본 결과, 손가락춤은 없고 주로 추는 부위는 손목춤, 손바닥춤, 팔춤, 어깨춤이다. 그리하여 손가락춤, 목춤, 고개춤 등 말초부위는 발달하지 않았다. 또한 발디딤새는 비정비팔이 중심이며, 걸음걸이는 굴신인 디딤새→돋음새→오금새, 디딤새→뜀새의 원리로 걷는다. 그밖에 특징은 수족상응춤, 3박자의 호흡춤과 엇박춤을 들 수 있다. The purpose of this study was to classify the types of traditional dance and compare the formal characteristics of each genre to examine the original characteristics of Korean traditional dance. The classification method of Byung Ho Jung was applied to classify the traditional dance, but its problems were improved to reestablish it as the classification method of Byung Ho Jung and Byung Ok Lee. Its characteristics are as follows: ① The generalized classification into two genres (royal dance and folk dance) was accepted and Byung Ho Jung`s four-tier classification in the upper tier was accepted to resolve the problems. Therefore, royal dance was classified into banquet dance and ritual dance, while folk dance was classified into ceremonial dance, commoner dance, and artistic dance. ② A classification method was established to classify all categories of traditional dance into four tiers to present it as a chart. In particular, artistic dance was classified into Gibang Dance, Jaein Dance (entertainer), and Shindang Dance (shaman). ③ Various methods of classification would be needed, but an integrated classification method was established in terms of functional, professional, social, and artistic concepts. Then, the formal characteristics of the dance were examined and compared based on the method of classification of traditional dance. In particular, the formal characteristics of royal dance and folk dance were compared and the formal characteristics of artistic dance were examined to compare the characteristics of Gibang Dance, Jaein Dance, and Shindang Dance. Also, the characteristics of folk dance and ritual dance were examined and the formal characteristics of commoner dance, artistic dance, and ceremonial dance were compared in a chart. Finally, the formal characteristics of the dance of each body part that becomes the archetypical elements of Korean traditional dance organized by Byung Ho Jung and Byung Ok Lee include wrist dance, palm dance, arm dance, and shoulder dance, while the peripheral parts of fingers, neck, and head were not developed. The foot position is Bijeongbipal and the steps follow the principle of Didimsae→Dodeumsae→Ogeumsae and Didimsae→ Dduimsae. Other characteristics include hand-foot coordination dance, 3-beat breathing dance, and off-beat dance.

원시시대 한국 레크리에이션의 고고인류학적 고찰

이병옥(Byoung Ok Lee) 한국여가학회 2000 한국여가학회지 Vol.2 No.-

N/A N/A

송파산대놀이(松坡山臺戱) 공연의 원형(原型) 분석

이병옥 ( Byoung Ok Lee ),임청화 ( Cheong Wha Im ) 대한무용학회 2005 대한무용학회논문집 Vol.45 No.-

송파산대탈춤 중 " 깨끼춤 " 에 함유된 동작미 분석

이병옥,임청화 ( Byoung Ok Lee,Cheong Hwa Im ) 대한무용학회 1997 대한무용학회논문집 Vol.22 No.-

일본 노오(能)의 공연형식과 춤 특징 고찰

이병옥 龍仁大學校 1997 용인대학교 논문집 Vol.13 No.-

The study of Japanese dance has been pursued by many scholars up the present, and their efforts have brought remarkable academic results in this Held. The comparative study, however, of Korean drama and other oriental theaters has not heretofore been attempted. Such comparative study promises to be rewarding, for despite certain common features shraed by Japanese, and Korean traditional theaters, each of the dramatic traditions possesses unique characteristics of its own. The similarities and differences between Japanese and Korean drama are rooted in the origins and historical backgrounds of the respective theaters. Japanese traditional theater originated with dance, later adding narrative; dance and narrative then developed simultaneously, to produce the singing and dancing form of Japanese theater known today. Korean traditional theater has origins in the village festivals of past and, finds its origins in mythology and legends. Moreover, Japanese theater was a singular product of the commoners and unique among Oriental theaters in that respect. Japanese dramas are more refined and complete in structure, following a basic format of exposition, development, and climax. The form of performance in all three theatrical traditions tends to be dominated by dancing and singing. Similarities, of course, are also to be found in Japanese drama, basically in the following points. First of all, the theaters share a common rejection of realism. This rejection of realism in turn induces the alienation of the audience from the play they are watching, in the sense that the play never attempts to reach the audience on the level of reality. Japanese traditional theatres are also characterized by the simplicity of their stages, the often stylized methods of acting, and the symbolic use of masks. At the heart of the three theatrical traditions, however, lie significant differences in the spirit and nature of their dramas. and Japanese drama follows established lines of ritual and ceremony. In Japanese theater, audience opinion is voiced through the chorus. Japanese playwrights are available. The vital, free, and relatively vulgar qualify of the language in the Mask Dance Drama is therefore no accident, and indeed is greatly responsible for the entertaining quality of the drama. Recent attempts to modernize Korean mask drama along western lines have failed largely because such reforms dealt only with external form and failed to take into account the essential character of the drama. The future of Korean Mask Dance Drama lies not in such superficial alterations, but in building on the tradition it has inherited, preserving essential features of the old drama, while expanding to accomodate a changed environment. For, just as Korean Mask Drama has in the past responded to the society of the times with humor and satire, and reflected the tastes of its audiences, so too must present-day Korean Mask Drama remain perceptive to its society and audience, and thus remain a vital, spirited dramatic form.

原始韓國舞踊의 類型과 特徵 硏究

李炳玉 龍仁大學校 1994 용인대학교 논문집 Vol.10 No.-

In order to inquere into Korean ancient dances through literature research this thesis classified the primitive period of the prehistoric times, and the ancient times into the castle town nation times, the Three Kingdoms times and the Unified Silla dynasty times, and analysed and put together a social background, the generative and formative process of the ancient dance, and the evolving process of the ancient dance chronologically. The dance has been generated in a social background with a history of mankind, and its some part has disappeared on the one hand and its another part has been generated on the other. For that reason this thesis attempeted to clarify the social background concretely from the aspects of natural environment, village life, custom social institution, religion and belief culture and so on, and inquired into dance, classifying its function into an incantatory function, entertaining function, and artistic function. In particular, the ancient times is the living dance times, when people took advantage of the dance as a means for bring it into life, and the dance has developed into several forms of dances gradually with the evolutions of the times. If the generative and formative processes of the dance are summarized and investigated chronologically, it is as follows : In the hunting times of the primitive times the incontatory dance was generated from imitating the motions of animals or natural objects. At the turn of the agricultural times people, who come to perceive God, made use of dance as the language for communicating with God, as the symbol of prayer and the meaning of their wishes and as a means of religious ceremonies or rites.