- 영문명
- Bongsantalchum(봉산탈춤)"s Laughter：its Characteristics and Significance in Cultural History
- 발행기관
- 어문연구학회
- 저자명
- 사진실(Jin-Shil Sa)
- 간행물 정보
- 『어문연구』語文硏究 第57輯, 187~219쪽, 전체 33쪽
- 주제분류
- 어문학 > 한국어와문학
- 파일형태
- 발행일자
- 2008.08.01
국문 초록
영문 초록
During the performance of farce genres like mask dance Talchum, a lot of laughter is given and taken between actors and audience. While the producers and actors design some laughingstocks, the audience catch the laughing point and break into laughter.
Even though they are well designed laughingstocks, they do not always have the audience laugh. The matter whether the designed laughingstocks lead into laughter or not is connected with the social and cultural context. So, designed laughingstocks for the Chosun Dynasty audience would fail to make the contemporary audience laugh.
Of course, there are common types of laughingstocks that are still effective regardless of the changing society. However, there are specific designed laughingstocks that are amusing only to special groups and exclusive designed ones that ridicule and insult other group of people, therefore making them funny to another group of people.
In this article, focussing on the specification or exclusion of the designed laughingstocks and real laughter, the characteristics and significance in cultural history of Bongsantalchum(mask dance)"s laughter is analyzed.
The subject group who designed and performed the laughingstocks of Bongsantalchum is said to be middle class male group fancy themselves Walja(왈자, libertines or prodigals). Through the characters that represents themselves, they designed and performed specific laughingstocks so that displayed and promoted powerful masculinity.
And also, they designed and performed exclusive laughingstocks against the object groups such as Nojang(노장, old monk), Yangban(양반, noble class), and Miyal(미얄, ugly old wife). These groups are ridiculed and created as laughingstocks. The personalities such as old monk"s asceticism, noble class" authoritarianism, and ugly old wife"s jealousy are against to the middle class male group"s fancy of libertines or prodigals.
Exclusive or specific designed laughingstocks, while putting its basis on the contemporary context and considering the laughter of the audience, hold the subject group"s strategy and action. The strategy and action involving Bongsantalchum"s laughter are put together as "becoming unity through laughter" and "emphasizing opposition through laughter".
The strategy of "becoming unity through laughter" lies in the renewal and succession of masculinity. In the 18th century Chosun Dynasty, middle class male group Walja hold real power in the commercial area, and their masculinity represents the urban lives of libertines or prodigals.
The strategy of "emphasizing opposition through laughter" concentrates on the act of Yangban who suppress the people under middle class. While they ridicule or insult the noble class Yangban, sexual phrases and episodes are frequently used. That is because they wanted to display their physical vitality which could be another way to neglect and overcome the class distinction.
Even though they are well designed laughingstocks, they do not always have the audience laugh. The matter whether the designed laughingstocks lead into laughter or not is connected with the social and cultural context. So, designed laughingstocks for the Chosun Dynasty audience would fail to make the contemporary audience laugh.
Of course, there are common types of laughingstocks that are still effective regardless of the changing society. However, there are specific designed laughingstocks that are amusing only to special groups and exclusive designed ones that ridicule and insult other group of people, therefore making them funny to another group of people.
In this article, focussing on the specification or exclusion of the designed laughingstocks and real laughter, the characteristics and significance in cultural history of Bongsantalchum(mask dance)"s laughter is analyzed.
The subject group who designed and performed the laughingstocks of Bongsantalchum is said to be middle class male group fancy themselves Walja(왈자, libertines or prodigals). Through the characters that represents themselves, they designed and performed specific laughingstocks so that displayed and promoted powerful masculinity.
And also, they designed and performed exclusive laughingstocks against the object groups such as Nojang(노장, old monk), Yangban(양반, noble class), and Miyal(미얄, ugly old wife). These groups are ridiculed and created as laughingstocks. The personalities such as old monk"s asceticism, noble class" authoritarianism, and ugly old wife"s jealousy are against to the middle class male group"s fancy of libertines or prodigals.
Exclusive or specific designed laughingstocks, while putting its basis on the contemporary context and considering the laughter of the audience, hold the subject group"s strategy and action. The strategy and action involving Bongsantalchum"s laughter are put together as "becoming unity through laughter" and "emphasizing opposition through laughter".
The strategy of "becoming unity through laughter" lies in the renewal and succession of masculinity. In the 18th century Chosun Dynasty, middle class male group Walja hold real power in the commercial area, and their masculinity represents the urban lives of libertines or prodigals.
The strategy of "emphasizing opposition through laughter" concentrates on the act of Yangban who suppress the people under middle class. While they ridicule or insult the noble class Yangban, sexual phrases and episodes are frequently used. That is because they wanted to display their physical vitality which could be another way to neglect and overcome the class distinction.
목차
1. 머리말
2. 연극 공연의 층위와 웃음의 양상
3. 〈봉산탈춤〉 웃음거리의 주체와 웃음의 특정성
4. 〈봉산탈춤〉 웃음거리의 타자와 웃음의 배타성
5. 〈봉산탈춤〉 웃음의 전략과 실천
참고문헌
Abstract
2. 연극 공연의 층위와 웃음의 양상
3. 〈봉산탈춤〉 웃음거리의 주체와 웃음의 특정성
4. 〈봉산탈춤〉 웃음거리의 타자와 웃음의 배타성
5. 〈봉산탈춤〉 웃음의 전략과 실천
참고문헌
Abstract
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