동래야류 현대 전승사 자료 비정

정상박 한국공연문화학회 2023 공연문화연구 Vol.- No.47

Half a century has passed since Korean Mask Play, Dongnae Yaryu was reenacted in 1965 and designated as an Important intangible cultural property. In the meantime, It contributed to the establishment of national culture. Some of the testimonies do not fit the reality, causing serious problems in conveying the history of tradition. Therefore, the purpose of writing this thesis is to criticize and correct the errors in the record. The correct transmission history of Dongnae Yaryu is summarized as follows. In 1965, Chung Sang-bak, the writer, planned and gathered performers at the request of Busan Metropolitan City. And by practicing and directing them, he participated in the 6th National Folk Art Contest and won the highest prize, the Presidential Award. As for the principle of reenactment, as far as possible, the natives of Dongnae played happily as they remembered without interfering. The financial support from the city of Busan was used for all expenses. Dongnae Yaryu performers won the top prize at the 6th National Folk Art Contest. Subsequently, Choi Sang-soo was in charge of the designation as an Important intangible cultural property. He ended his investigation by interviewing 3-4 performers, rather than performing a performance by a native who remembers the two scene of the play, Yangban, Halmi and Younggam. And he submitted a report that recorded 4 scene of the play as he had recorded in the past, and received deliberation and had it designated as Important Intangible Cultural Property in 1967. 1965년 동래야류가 재연된 지 반세기가 지났다. 그 이후 동래야류는 중요무형문화재로 지정되고 민족문화 정립에 이바지하여 왔다. 이 기간의 증언 중에는 실상과 다르게 말하면서 와전되어 전승의 역사 기술에 심각한 문제를 야기하고 있다. 동래야류 재연에 주도적 역할을 한 필자가 이런 사태를 방치하는 것은 학자로서 도리가 아니라는 생각이 들었다. 그래서 이런 증언의 잘못을 비정(批正)하고자 이 논문을 쓴다. 바로 잡은 동래야류의 현대 전승사를 약술하면 다음과 같다. 1965년 5월부터 필자 정상박이 부산직할시 당국의 의뢰를 받아 동래야류 재연 작업을 시작하였다. 재연에 참여할 연희자를 모아 6개월간 연습시켜 제6회 전국민속예술경연대회에 참가하여 최고상인 대통령상을 수상하였다. 재연 원칙은 되도록 간섭을 하지 않고 동래 토박이가 기억하는 대로 신명나게 놀도록 했다. 재정적 지원은 부산직할시 당국이 담당하였다. 지역에서 가장 오래 된 단체인 동래 기영회는 지역 사정과 연희의 역사를 알아보는 데 유용하였으나 재정을 비롯한 일체의 지원을 받은 바가 없었다. 1965년 10월 동래야류 연희자들은 제16회 전국민속예술경연대회에서 대통령상을 수상하였다. 이어서 중요무형문화재 지정 조사를 담당한 최상수는 양반과장과 할미·영감과장 등 2과장을 기억하는 동래 토박이들의 연희를 실연시켜 보지 않고, 자기 숙소에서 연희자 3~4명을 면담하는 것으로 조사를 마쳤다. 그리고 그는 자기의 과거 채록본대로 4과장을 기록한 보고서를 제출하여 동래야류는 전승 실상과 다르게 4과장의 가면극으로 중요무형문화재 제18호로 지정되었다.

내가 본 우경 장양수 박사 : 철저하게 가려 앉는 사람

정상박 새얼어문학회 2001 새얼語文論集 Vol.14 No.-

성기암설화(性器岩說話)의 변이전승(變異傳承) 고찰(考察) -경상남도(慶尙南道)를 중심으로-

정상박 東亞大學校附設 石堂傳統文化硏究院 1991 石堂論叢 Vol.17 No.-

固城 五廣大 臺詞

정상박 국어국문학회 1960 국어국문학 Vol.- No.22

固城五廣大의 臺詞 傳承 樣相

정상박 東亞大學校 文科大學 附設 韓國民俗文化硏究所 1981 民俗文化 Vol.3 No.1

Koseong Okwangde is one of the Korean mask plays. I have compared four different texts of Koseong Okwaugde play to make a survey of the aspects of transmission in them. The following is the summary of my observation: 1. The order of sections which constitutes the play is just like that of Masan Okwangde Mask play except for the sections of ritual dance. 2. The art of orgy and dance has been dwindled. 3. Dialogue has been handed down from generation to generation under metrical conditions and in accordance with oral formula. 4. Words composing the dialogue have been transformed into those still have similarity wit the original in meaning and sound. 5. The change in drama contents has corresponded with that in the social conciousness.

나의 가면극 연구

정상박 한국공연문화학회 (구,한국고전희곡학회) 2006 공연문화연구 Vol.13 No.-

고등학교 국어교육에 있어서 민속관계 제재 : CENTERING AROUND THE ACADEMIC HIGH SCHOOL TEXTBOOK

정상박 東亞大學校 敎育大學院 1979 敎育大學院 論文集 Vol.5 No.-

I found that what part the folklore matter played in the Korean Language Education mainly by analyzng the Korean Language Tetbook for the academic high school. I examined the point of the issue of the folkore matter in the Korean Languae Textbook for the academic high school from the viewpoint of folklore. The conclusions and raised problems are as follows: 1.The folklore matter plays an important part in cultivating national identity. 2.The percentage of the folklore matter i the Korean Language Textbook for the academic high school is 5% and that ratio is small. 3.The structure of the knowledge of folklore in itself, too, should be considered when folklore matter is record. 4.The folklore matter is inclined to the field of custom, so oral literature, folklore art and the others should be recorded equally. 5.The course of lectures of folklore and cultural anthropology should be opened in process of training and retraining teachers of Korean Language. 6.The introdung of cultural anthropology is instructed as a topic of society-Culture in swocial education, so teachers must be careful to select the content so that the quality of educationmight avoid duplication, before they teach the folklore matter.

五廣大와 들놀음의 形成 硏究

정상박 동아대학교 1992 국어국문학 Vol.11 No.-

영남농악의 민낯과 현대농악의 형성

정상박 영남춤학회 2020 영남춤학회誌 Vol.8 No.2

The traditional culture researchers tend to beautify the stuffs from the past. The actual state of Nongak of Yeongnam region as a traditional society was simple. In case of farmers’ Nongak, the farmers in casual clothes played the Nongak instruments during the holidays in the beginning of the year while the professional Nongak was sophisticated with less organization. Contrary to the existing Nongak genre, after setting up the specific standard of genres and then dividing it into genres, this study contrasted the distinctive characteristics of those genres. First, the Nongak was divided into farmers’ Nongak and professional Nongak on the basis of act itself. And based on the background of formation which could be the space, the Nongak was classified into village Nongak performed in village community, and urban Nongak formed/performed in the background of urban society. On the basis of time, it was divided into traditional Nongak and contemporary Nongak. In order to have satisfactory discussions of this, it would be necessary to perceive the existence of various kinds of Nongak through the classification of Nongak genres, and especially, the truth of urban Nongak formed in modern cities should be acknowledged. Lastly, this study understood the roles of prominent masters of modern times in the formation of urban Nongak, and how they were standing out. 이 글은 영남농악의 명인을 발굴하여 그 위상을 설정하는 연구 결과를 발표하는 자리에서 행한 기조발제의 원고이므로 서설적인 성격이 강하다. 전통문화 연구자들은 과거의 것을 미화하려는 경향이 있다. 그래서 먼저 전통사회 영남지방의 농악의 실상을 드러내 보았다. 농민농악은 평복에 고깔을 쓰고 기본적인 풍물을 연주하는 소박한 연행이었고, 전문(가)농악의 풍물놀이는 기교적이고 세련되었지만 편성이 작고 소박하였음을 확인하였다. 소위 ‘농악’, 혹은 ‘풍물(굿)’로 획일적인 명칭으로 불리기 전에 각 지역마다 고유의 이름이 있었다. 이런 전통성과 향토성이 반영된 전래의 농악 명칭으로 복원하여야 할 것이다. 이름은 내용을 표현하는 데 그치지 아니하고, 내용을 규제하기 때문이다. 기존의 농악 갈래와 다르게, 갈래의 명확한 기준을 설정하고 갈래짓기를 한 다음 그 갈래들의 변별적 특성을 대비시켜 보았다. 먼저 농악을 그 행위 주체를 기준으로 농민농악과 전문(가)농악으로 나누었다. 그리고 농악을 생성 바탕, 즉 공간을 기준으로 마을공동체를 바탕으로 연행하는 마을농악과 도시사회를 배경으로 결성하여 연행을 하는 도시농악으로 갈래지었다. 농민농악은 농촌마을을 배경으로 전승하고 있어서 공간적인 기준으로 보면 마을농악이 된다. 근대 이후 도시가 발달되면서 그것을 배경으로 성장한 것이 도시농악이다. 도시농악은 전문 농악 치배들로 결성된 경우도 있고, 여러 마을농악의 우수한 치배들이 모여 결성한 경우도 있고, 전문 치배와 마을 치배들이 모여서 성립된 경우도 있다. 시대를 기준으로 전통농악과 현대농악으로 나누었다. 논의가 제대로 이루어기 위하여 갈래짓기를 통하여 다양한 농악이 있음을 인식해야 하지만, 특히 현대 도시에서 생성된 도시농악의 실체를 인정해야 한다. 마지막으로 현대에 걸출한 치배, 즉 명인이 도시농악 형성에 어떤 역할을 하였고, 그들이 어떻게 부각되었는지 알아보았다. 그리고 무형문화재 농악종목 지정 추이를 비판적으로 검토하였다. 무형문화재 제도는 농악의 전승에 크게 기여를 하였다. 그럼에도 불구하고 이것이 농악의 자유로운 발달에 장애가 되었다는 점도 간과해서는 아니 된다. 예술은 다양하게 발전하여야 한다. 무형문화재로 지정된 농악뿐만 아니라 비지정 농악도, 세계의 여러 지역의 농악도 다 포괄하여 다루어야 농악이 살아있는 민족예술로 제대로 발전을 할 것이다.

오광대와 들놀음 연구 : With Focus on Dialogue Analysis 대사 분석을 중심으로

정상박 東亞大學校 1983 東亞論叢 Vol.20 No.1

In South Kyongsang province of Korea, the traditional mask-dance drama called Ogwangdae (Five Actors) and another kind of mask-dance drama called Dulnorun(Field Play) are performed. Ogwangdae and Dulnorum have been considered the same kind by scholars. I have tried to grasp the reality and nature of the two mask-dance drama from larger segments to smaller ones respectively and comparing both. And I also attempt to settle the question of the distintive features of the two mask-dance drama. The results obtained from the study are as follows; 1. Ogwangdae is performed only on the western side of the Naktong River, and Dulnorum on the eastern side. The western and eastern sides of the river have different cultural backgrounds as they were, during the late Yi-dynasty, different provinces. The fact that Ogwangdae and Dulnorum have different sociocultural backgrounds supports the idea that the two can be divided into two different categories. The "Dul" in Dulnorum means "cultivated field", and the name Dulnorum originates from the agricultural rite performed in the field. The name Ogwangdae takes its origin from the play performed by five actors which constitutes Scene I of the present play; that is, Obang Sinjang-mu (the dance of the divine generals of the five directions). As the name Ogwangdae and Dulnorum have different origins, the two can be divided into two different kinds. 2. Ogwangdae and Dulnorum were compared through research and analysis of the events and plays done before and after the part of mask-dance drama. In Dulnorum, before the mask-dance drama, the performers pray to the spirits of village shrine, perform Kilnori (March of the performers), in which a fancy procession parades from the fields into the village, and dance Dotbegi-chumnori (Group dance of Dotbegi), in which the village people and players dance together in the village; after the mask-dance drama, they pray for the safety and well-being of the village while burning the masks. The structure of Dulnorum is such that they bring the guardian deity of the village along from the village shrine, invite the deity of agriculture through Kilnori, ask the God in the heaven to come down through Dotbegi-chumnori, perform a mask-dance so as to delight all the deities, and finally send them back by burning masks. 3. The mask-dance part in Dulnorum and Ogwangdae is composed of several scenes which are independent dramas with different themes. Even though the scenes seem to be haphazardly and superficially constructed, an ordered construction has been detected. In the typical construction, the scenes of ritual events are placed in the initial or final parts, while scenes full of dramatic action are placed in the middle. When this structure was transformed, the order of the scenes was not changed, but the scenes of ritual events in the initial or final parts were dropped. Many of the unchanged, typical kinds of scenes are found in Ogwangdae, but Kulnorum was transformed and has a reduced number of scenes. 4. The internal structure of each scene which can be regarded as an independent drama was analyzed. The analysis of the scenes of Malttugi-Yangban(Servant and Nobleman) and Halmi-Yonggam (Old Woman and Her Husband) which have the greatest number of dialogues and are most dramatic, shows that between the utterances of each character there is a close connection and a series of utterances are cut off with everybody dancing. If we consider a series of utterance as a unit, the relationship between the units can be said to be repetitive. And the construction of a larger meaning unit which comprises several of the above mentioned units shows some kind of cause and effect among events. The scenes of mask-dance dramas in South Kyongsang province have a similar construction and formula to each other, and it can be found out that there are close resemblances among Ogwangdaes and also among Dulnorums. 5. I investigated the manner of transmission of the dialogues. If an utterance of a character is short, it is either directive or interrogative; while, if it is long, there appears first a long set phrase describing the scenes of events or producing a dramatic atmosphere, and, after that, a short phrase appears which is either directive or interrogative. The initial parts of the dialogues have been well preserved and transmitted without change, but the latter parts have undergone changes and expressed the zeitgeist, social consciousness and aesthetic feeling of the players of the time. The changes in the dialogues are mostly due to the ignorance of the meanings of the phrases on the part of the players. And the changes were not arbitrary but were phonetically or semantically similar to the original expressions.