지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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So far, I have examined its role, its function and the principle of performance, focusing on the “Sanbazi” of Kokdugaksi Play. Especially, what I would concentrate on most is the characteristics of performance and the principle of entertainment which Sanbazi has.
I can abridge what I have argued previously as following. First, I looked into the name of Sanbazi. Sanbazi is a compound of “Sani” and “Bazi”, and the term of “Sani” refers to a professional entertainer or a professional player traditionally, and “Bazi” means playing with responding to leading actor’s play. Finally, “Sanbazi” or “Sanibazi” has a meaning that it is a player who goes on a play, responding to leading actor’s play.
Next, I looked into the role and function of Sanbazi. Sanbazi, first, acts as a extender of the space of play. Second, it plays a role of a dramatic character and critical audience. Third, it plays a role of a director and narrator in a play. Forth, it contributes to richness of performing as an extender of the text. It is an aspect which shows the characteristics that Sanbazi has as a professional wit-maker. It is Sanbazi, a player that contributes to extending the text, making suitable use of real ambience and extemporization for the smooth progress of the play.
Next, there was a discourse on the performing principle of Sanbazi. I described the performing principle after dividing into two parts of “the principle of criticism” and “the principle of entertainment”. The first is “the principle of criticism”. Sanbazi represents the viewpoint of the citizens and maintains an impersonal attitude ar the same time, and criticizes characters in play. It, however, reveals as the very different aspect, when the target of criticism changes into the ruling class. It selects not a method that Sanbazi criticizes directly, but one that criticizes with a doll of Hongdongzi placed ac che head. This is because a player, a member of Namsadangpae who is a wandering player ac che lowermost class, minds personally criticizing the Yangban Nobles. Thus, criticizing through the doll, Hongdongzi, Sanbazi gets out of the way as a n outsider.
Secondly, I examined “the principle of entertainment”. While the principle of criticism is a characteristics which reveals superficially, the principle of entertainment is a characteristics which is involved more deeply. Sanbazi looks upon the entertainments of characters as positive, and sometimes causes to get enthusiastic. Of course, Kokdugaksi play implies the principle of criticism, but it is the principle of merrymaking that is even more emphasized and focused. Such playful aspect can be seen through a whole frame of the work In terms of such principle, we can have a new interpretation about the finale with the scene “Keonsi” in Kokdugaksi play. This way, in the respect of performing, has a very effective function. It is an effort to reconciliate and settle all the problematic situation and conflicts with a religious power. However, merrymaking(entertainment} is also emphasized in such part. Not serious religious solution but merrymaking and playful solution is intended.
I can abridge what I have argued previously as following. First, I looked into the name of Sanbazi. Sanbazi is a compound of “Sani” and “Bazi”, and the term of “Sani” refers to a professional entertainer or a professional player traditionally, and “Bazi” means playing with responding to leading actor’s play. Finally, “Sanbazi” or “Sanibazi” has a meaning that it is a player who goes on a play, responding to leading actor’s play.
Next, I looked into the role and function of Sanbazi. Sanbazi, first, acts as a extender of the space of play. Second, it plays a role of a dramatic character and critical audience. Third, it plays a role of a director and narrator in a play. Forth, it contributes to richness of performing as an extender of the text. It is an aspect which shows the characteristics that Sanbazi has as a professional wit-maker. It is Sanbazi, a player that contributes to extending the text, making suitable use of real ambience and extemporization for the smooth progress of the play.
Next, there was a discourse on the performing principle of Sanbazi. I described the performing principle after dividing into two parts of “the principle of criticism” and “the principle of entertainment”. The first is “the principle of criticism”. Sanbazi represents the viewpoint of the citizens and maintains an impersonal attitude ar the same time, and criticizes characters in play. It, however, reveals as the very different aspect, when the target of criticism changes into the ruling class. It selects not a method that Sanbazi criticizes directly, but one that criticizes with a doll of Hongdongzi placed ac che head. This is because a player, a member of Namsadangpae who is a wandering player ac che lowermost class, minds personally criticizing the Yangban Nobles. Thus, criticizing through the doll, Hongdongzi, Sanbazi gets out of the way as a n outsider.
Secondly, I examined “the principle of entertainment”. While the principle of criticism is a characteristics which reveals superficially, the principle of entertainment is a characteristics which is involved more deeply. Sanbazi looks upon the entertainments of characters as positive, and sometimes causes to get enthusiastic. Of course, Kokdugaksi play implies the principle of criticism, but it is the principle of merrymaking that is even more emphasized and focused. Such playful aspect can be seen through a whole frame of the work In terms of such principle, we can have a new interpretation about the finale with the scene “Keonsi” in Kokdugaksi play. This way, in the respect of performing, has a very effective function. It is an effort to reconciliate and settle all the problematic situation and conflicts with a religious power. However, merrymaking(entertainment} is also emphasized in such part. Not serious religious solution but merrymaking and playful solution is intended.
목차
Ⅰ. 머리말
Ⅱ. 연희자로서 산받이
Ⅲ. 산받이의 역할과 기능
Ⅳ. 산받이의 연행원리
Ⅴ. 맺음말
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