중국 마임의 정체성 고찰

• 발행기관: 중국인문학회
• 저자명: 김형란
• 간행물 정보: 『중국인문과학 』제53집, 351~373쪽, 전체 23쪽
• 주제분류: 인문학 > 문학
• 파일형태: PDF
• 발행일자: 2013.04.30

영문 초록

This study was designed to investigate identity of the chinese mime compared with western pantomime. Pantomime can be defined as the dumb show that deliver the story to audience with only action, and the mime defined physical expression coming into action in the stage everywhere as well as dumb show. Therefore, the mime has broader meaning than pantomime and chinese mime is appropriate expression to indicate the Zuo(做) and Da(打) of chinese display that dose not include dumb show. One of the reason why China dose not have independent dumb show at present is thought as their thinking process seeking comprehensiveness not dispersion or analysis and successive developmental process of display to Xiaoxi(小戱) and Daxi(大戱). I also studied that historically the dumb like Yajaju(啞雜劇) had been displayed in era of Song dynasty and direction using dumb show technique and art form remain into various kinds of presnet chinese play. The identity of chinese mime was first studied through animations for searching it in terms of direction form of dumb show. The its direction forms can be divided to lyric, action, and comic styles. All plays that did not use all dialogues or was composed of motion mostly, were studied and classified. Through this study, the differences between chinese mime and western pantomime as focusing on direction of dumb show, and the identity of chinese mime with various aspect can be summarized as follows. Chinese mime focused on dancing itself, used the music as an essential component, expressed imaginary motion using object-free action, was consisted on the basis of Xieyi(寫意) concept like poetic literature, displayed on the stage with a formal motion having the significance and standard as a sign, and used facial make-up, Lianpu(臉譜), which leads actors to concentrate other physical expressiveness instead of covered facial expression. On the other hand, western pantomime focused on the story description, excluded music in the play basically, expressed fantastic substance using object-free action, was composed on the basis of the realism in narrative literature, reenacted real motion, and used the facial and mouth expression as an important factor to render dramatic contents.

목차

Ⅰ. 들어가며

Ⅱ. 전제적 고찰

Ⅲ. 중국 마임의 정체성 고찰

Ⅳ. 나가며

키워드

pantomime chinese mime Chengshi-movements Zuo Da 程式動作 做 打