<봉산탈춤>과 양주별산대놀이, 노장과장 연구 -인물의 몸짓을 중심으로- = A Study on the scene Old Priest in Bongsan Talchum, and Yangjoo Byeolsandae Nori, -Centered on “Gestures”-

다국어 초록 (Multilingual Abstract)

This study speculated on the bodies represented in <Bongsan Talchum> and <Yangjoo Byeolsandae Nori> which take typical positions in the Korean mask drama. This study focused on the bodies realized in the texts, especially the characters(Chibari and Miyal) whose bodies played an important role while they produced important meaning through their bodies even though they did not speak any lines in the dramas. The four characters examined in this study had a common element in that they did not hide their instinct. They practiced their desires with their bodies. If there were obstacles when they took the subjects they desired, they behaved bravely in taking them. Following their senses, they reached for their goal and depended on the movement of their bodies. In other words, the players in mask dramas who led community culture were faithful to the needs of their bodies to show that any member can have freedom to enjoy their bodies. The dramas had a human perspective on the bodies presented, not a Confucian perspective. It is a modern perspective of leaders of mask dramas who wanted to be reborn as subjects of bodies beyond the taboos of Confucian feudal society. Probably the public who were oppressed under moral taboos would cheer and yell in delight. This is why our mask dramas have been popular and passed down for such a long time.