• (The) Research of the performance art and culture
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• no.40
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• pp.163-192
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• 2020

Sinjungsin Mask Play, one of Ttangseolbeop, is related to Seongjusin's life story. Sinjungsin Mask Play is a reconstruction of the story of the folk gods Seongjusin met while returning home. Seongjusin's life story proceeds in the form of Mask Play, and the monk who leads the sermon plays narration and main roles. Many believers play various roles and musicians. Sinjungsin Mask Play introduces many folk beliefs, sounds for intrigue, and talks. Sinjungsin Mask Play uses the same method of enumeration and repetition as the existing Mask Play. The repetition of a sentence or phrase plays a role in foreseeing the meaning of the context or foretelling the development of the plot to the audience. This repetition is intended to emphasize the situation of the scene and to create rhythm. Since Mask Play was exclusively for the common people, Mask Play actors use the repeating method commonly used in folk songs to form lines. This gives the audience a familiarity, effectively communicating the lines and responding to their tastes. Sinjungsin Mask Play borrowed people's way of playing for the public's mission. It inherits the dramatic forms of traditional traditional plays such as repetition of words or sentences or phrases, codification of words or sentences, borrowing of existing songs, and formal expression units. In addition, through repeated performances, believers can easily and easily learn and understand. This is the dramatic form and characteristics of Sinjungsin Mask Play. Sinjungsin Mask Play was handed down from Faith Communities and was used as a means of folk cultivation to spread illegality. Buddhism externalizes the process of accepting folk beliefs through Mask Play, and in the case of Shinto who participated directly or indirectly, they naturally acquire the belief system of Hwaeom Kyung through play. Sinjungsin Mask Play, one of Ttangseolbeop, can be said to have great value as an ICH, as well as popularization and mission.

• (The) Research of the performance art and culture
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• no.39
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• pp.133-165
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• 2019

This paper tried an approach of oral literature as the research subject of Soeburi song in Ulsan. First, UlsanSoeburi song is meaningful as materials collected in Ulsan such as Hansil, Dodoekgol, Dudong and Byeongueong. In addition, it is related to regional identity as song native to Ulsan, which has prototype and archetype. And it shows that Ulsan is the city as well as hometown of Soeburi(meaning ' iron manufacture'). The characteristics of lyrics are different between Hansil Soeburi song and Dodeokgol Soeburi song. Jeiman Choi is considered as a good oral literature poet, because he is a performer who is faithful in official structural principal and in original lyrics(archetype) of Soeburi song. Therefore, SoeburiBulmei song of Jeiman Choi signifies aesthetic meaning, having lyrics which make to feel labor's purity and sacred and melody which overcomes labor's difficulty through united action. On the other hand, SoeburiBulmei song of Dalo Kim in Doseokgol shows that he is a extemporaneous performer even though he performs based on official structural principal. In this paper, transmission and changes of UlsanSoeburi song are divided into basic type, frequent shift type and overall type. 'Basic type' originates from Jeiman Choi's Soeburi song in Hansil. 'Frequent shift type' was created by combining SoeburiBulmei song of Dalo Kim in Doseokgol and SoeburiGeumjul song in Ulsan. 'Overall type' is current Soeburi song, which was created by adding Bulmei song for lulling a baby in Byeongueong near Dalcheon region and Seoknyanggan(smithy) Bulmei song. UlsanSoeburi song is being passed down continuously, strengthening the identity as a representative folk song in Ulsan through endless process of transmission and changes.

• (The) Research of the performance art and culture
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• no.19
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• pp.317-346
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• 2009

Soongeuimyo is a shrine which has Liu Bei 劉備 as the main ceremonial figure and also Guan Yu 關羽 and Zhang Fai 張飛 as ceremonial figures as well as 8 others such as Zhege Liang, Zhao Yun, Ma Chao, Huang Zhong, Uang Bo, Zhou Zhang, Zhao Ru, and Guan Ping. Since one of the ceremonial figures is Guan Yu, it has been considered and discussed as a Guanwangmyo 關王廟. It is also witnessed by the terms called the East, South, or North tomb that were the existing Guanwangmyo, or even 'West' tomb 西廟. Of course, the relationship between Guanwangmyo and Soongeuimyo cannot be excluded because they both have Guan Yu. However, Soongeuimyo is different from Guanwangmyo in some aspects. Soongeuimyo was of a higher grade than Guanwangmyo in the quality of the ceremonial figures, and it had a completely different music and dances 악무, in which it included court music(雅樂), orchestra for court music(雅樂樂懸), and Yugilmu 六佾舞. Since the first enshrinement ritual in April 27, 1904, the period of Soongeuimyo Jerye was performed for only 4 years until the close in July, 1908, which made it less known. Furthermore, because Japanese Governor General used Soongeuimyo land as orphanages and schools for the blind and the dumb, the tomb areas were completely destroyed and the space to recall memories of Soongeuimyo was lost. However, Soongeuimyo Jerye was one of the country's important ceremonies conducted as Joong Sa 中祀 with complete assessment of traditional music and dance for Jerye. Also, as a Jerye that Go Jong 高宗 designed as a strong soldier policy after his coronation as an emperor to enhance Dae Han empire's military power, it has much significance as Dae Han empire's last national ceremony newly created besides Hwangu Jerye 圜丘祭 after his coronation.

• (The) Research of the performance art and culture
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• no.22
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• pp.5-43
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• 2011

Before the Korean War, Korean mask dramas had been performed as parts of seasonal customs and had been passed down in connection with various seasonal events, such as village rites, tug of war, torch fighting, Jisinbabgi(stepping on evil spirits), Gilnori, and Sattonoreum. However, after the Korean War, the dramas were played independently regardless of those seasonal events; thus, they have lost their original functions and meanings. After the Korean War, the lion dance in the Bukcheong lion mask play included two lions (as opposed to one lion prior to the Korean War) and the Aeonesung and Sadang dances were added. The scene in which a lion eats a child changed to a lion eating a rabbit doll. Furthermore, whereas mask types used to be diverse, they are now standardized to one type of lion mask. In the Yangju Byulsandae-nori, eight monks and Waejangnye, Aesadang appeared in 'Aesadang Bubgonori', but now the Malddugi mask character is added. Current performances omit sexually suggestive scenes. In the pre-Korean War version of the old man and old woman act, the old man sang a song to the soul of the dead woman, but now a shaman appears and performs an exorcism. In the dialogues, vulgar and sexual statements have been shortened as many audience members are women and children. Regarding the appearance of the masks, the lotus leaf, the monk with Scabies, and sannim masks have been significantly changed. Bongsantalchum has also changed, especially in the old monk act. Previously, two Somu used to appear whereas now only one appears. The scene of the shoe seller's and the monkey's departure is also different. Furthermore, while the former masks once had big eye holes on each side of the nose, now the masks have smaller holes on the eyes.

• (The) Research of the performance art and culture
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• no.35
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• pp.125-174
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• 2017

The Cheondeok-Song (religious songs of Cheondo-Gyo) of the Japanese colonial period shown on Cheondo-Gyohwe-Weolbo, the monthly magazine of Cheondo-Gyo Church were examined in this paper. The results are as follows. There are scores of songs, lyrics, and articles related to Cheondeok-Song in the monthly magazine. The five-tone scale or Korean traditional rhythm style was partly used, but western music form was dominant in most of the songs. Especially the four-part form of Christian hymns became usual since 1931. This shows how people thought of the new trends. The reception of the new trends being emphasized, but they recognized tradition as an object of overcoming rather than of succeeding. The lyrics contain religious contents and the spirit of the period to restore national self-respect and contribute to the world peace through overcoming Japanese imperialism. But the rhythm of seven and five syllables which is suspected to have been introduced by Japan was spread after the 1920s. Cheondeok-Song have been sung in the three grand anniversaries and other anniversaries, the Prayer-day, in Cheondo-Gyo church services on Sunday, ceremonies, and in lecture. There are various kinds of songs and their status is very high. Especially, Cheondeok-Song have been used actively in mission works and edification for women. Cheondeok-Song actively reflected the domestic and international trends and the demands of that times. They could sing self perfection through enlightenment and also the social reform based on it. These are the reasons why I think Cheondeok-Song of those days are so important. Cheondeok-Song reflected modern elements actively, but couldn't succeed the national form and the traditional elements properly. The problem of cultural identity is not only a specific group's but also that of the whole humanity of maintaining cultural diversity. This is also a task that Cheondo-Gyo Cheondeok-Song have to solve in the future.

• (The) Research of the performance art and culture
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• no.36
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• pp.255-287
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• 2018

This article deals with one of the pansori master's life and activities. Bak Songhui(1927~2017), who was the holder of National Intangible Cultural Asset No. 5 for pansori Heungboga. She had played a significant role through the modern history of pansori genre including Yeoseong Gukkeuk(Korean classical opera by women) and Changgeuk(Korean traditional opera in pansori style) as well as original pansori itself. In the article, the early stage of her learnings and the way she got involved to pansori from Gwonbeon period are offered, and the activities by group, solo recitals, and educational activity lists are also provided. Bak Songhui began to learn pansori, Geommu(dance), Seungmu(dance), Gayageum, Yanggeum, and Gagok genres at her age of 13 in Gwangju. She fulfilled 5 years of study in Gwangju Gwonbeon, and entered to a Hyeomnyulsa-travelling theater company, led by Gim Yeonsu at her age around 19. Later, Bak used to be an actress in Yeoseong Gugak Donghohoe(Female Korean music fans' club) led by Gim sohui as well as in Haennim Gukkeukdan, and Saehan Gukkeukdan at around her age of 30. She took the main actress' role in several performances. And thanks to her effort, the Yeoseong Gukkeuk can be one of the representative genre in history. As she entered to the National Changgeuk company, her brilliant talents worked well by leading the company's big hit with her talents of taking many different characters, devotions, and know-hows from her experience. After her 70s, she kept the pansori go on its right way to pass down. She unfolded pansori performances as well as her own students' public presentations, recordings, TV and radio broadcasting activities as the holder of National Intangible Cultural Asset. The activities that Bak Songhui showed us can become another chance to make her a great master of pansori, especially in Dongpyeonje style.

• (The) Research of the performance art and culture
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• no.39
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• pp.581-607
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• 2019

Noting that exorcism play and mask play are different in their ritual nature, this paper aims to examine their ritual through the social drama theory of Victor Turner, a cultural anthropologist. Turner views every incident in human history as a social drama and interprets it based on the four-step structural theory of breach, crisis, redressive action, and reintegration. In particular, he believes that the redressive phase takes place through a ritual solution rather than a legal or political solution in the village community. Based on such Turner's theory, Chapter 2 analyzes Yeonggamnori, Jeju's typical exorcism play, and explains the process leading to reintegration in accordance with peaceful ritual. Chapter 3 then analyzes the Puppet Play on the same principle and examines that redressive action is being resolved through a sacrificial ritual in the case of this play. Chapter 4 checks whether the results from the previous two plays show similar aspects in other traditional plays. To this end, the exorcism play will be analyzed for Jeju's Seocheon Flower Play, Junsangnori, Segyeongnori and Sanshinnori, while the mask play will include Bongsan Mask Dance, Yangju Byeonsandae Play, Goseong Ogwangdae and Hahoe Mask Dance. As a result of these studies, it is the main point of the study to prove that exorcism play and mask play are different in their ritual nature. However, this research is only in the stage of seeking differences in its ritual, and the review on the historical and social causes of differences is left as a research task at a later date.

• (The) Research of the performance art and culture
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• no.22
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• pp.413-439
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• 2011

This study aims to look for the proper directions of following and developing Gyeonggi sinawi dance in the fashion of Kim Sukja by closely examining its kinds and patterns. First, its characteristics and education reality were investigated. Second, the seven kinds of Gyeonggi sinawi dance Kim Sukja allegedly handed down (according to the 121st Report of the Intangible Cultural Assets) were concretely examined. Third, the composition of each dance pattern was studied. Fourth, various beats used in Gyeonggi sinawi dance were revealed. The late Kim Sukja had outstanding artistic talent and ability in Gyeonggi sinawi dance movements, musical composition, gayageum accompanied singing, and pansori episodes. Behind her were master singer Kim Seokchang (grandfather), father Kim Deoksun (belonging to Hwaseong Artist Board), shaman-mother Jeong Gwiseong, and great dancer Jo Jinyeong. Kim sukja's seven Gyeonggi sinawi dance types were bujeong nori, teo beollim, jinsoe, jeseok, kkaekkeum, ollimchae, and dosal puri (designated as Important Intangible Cultural Asset in 1990). Such beats as seopchae (dosal puri), mori, bal ppeodeurae, bujeong nori, ollimchae, jinsoe, and teo beollim (ban seoreum) were mainly used in Gyeonggi sinawi dance. In sum, Kim Sukja's dance was more than an individual's dance to represent the cultural types and life at that time in Gyeonggi-do and be a very important academic historic material. Therefore, it is the responsibility of the present generation to hand down and develop such invaluable traditional cultural materials.

• (The) Research of the performance art and culture
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• no.36
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• pp.365-414
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• 2018

This paper studied the type and character of the Divinity in Korean shamanism. The study of the Divinity means the hierarchy of shamanism, the relationship between shamanism and divinity, and the comparison between shamanism and divinity. The study of the shamanistic divinity based on Kim Tae - Gon's collection of anthology by Shaman(1971). The Jaesugut was composed of the contents of the gods blessing human beings. The JaesuGut of Seoul vary from 10 to 18 depending on the author. The JaesuGut of Goseong consists of 8 Gut. The essence of the ritual gut is to pray for the peace of the individual by using the world which is not explained by reason and science. It is a reincarnation that reflects the world of experience that is stored in the memory of human being that both reason and science can not explain. And the desire to escape from fear was reflected in Jaesu Gut. Every Jaesu Gut in Seoul and Goseong has a main divinity. This main divinity is attached to the divinity in another Gut and becomes a subordination divinity. It also becomes a subordinate-subordination divinity to the another Gut. The gods of reincarnation are basically taken in the order of national security ${\rightarrow}$ local security ${\rightarrow}$ home security.

• (The) Research of the performance art and culture
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• no.37
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• pp.365-389
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• 2018

This research aims to study Michael Chekhov's acting techniques scientifically, because his techniques has been studied only theoretically or empirically. Especially, this study focuses on 'imagination' and 'Psychological Gesture' from the perspective of cognitive psychology. Chekhov thought 'imagination' as the basis and core of all the works of acting. In cognitive psychology, it is called as 'imagery' and means 'a representation of the mind of the object not communicated by the sensory organs currently'. This study starts with defining imagery and takes a brief look at the features and kinds of imagery. Then the researcher will prove scientifically the possibility of training acting using imagery as Chekhov's assertion. For the proof of the validity of imagery, we'll look for the theoretical evidences-functional equivalence hypothesis, psychoneuromuscular theory, symbolic learning theory, psychophygiological information processing-and experimental ones-measurements of cerebral blood flow or event-related potential, experiments with fMRI(functional magnetic resonance imaging) or PET(positron emission tomography). As a result, we can see that imagery is functionally identical to perception and improves fulfillment of cognitive and physical tasks. As proving physical changes can draw out psychological changes(feeling) on the medium of imagery, we can also see the validity of Psychological Gesture. From the above research, even if Chekhov developed the acting techniques only on the basis of his experience, his techniques can be thought as having scientific validity. Though insufficient, this study can be a help for actors or students as they using Chekhov's techniques.