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
오류제보하기
In this study, I tried examining how Shaman imagination was dramatized in Oh Tae-Suk's work, 〈In a Moonlight Night of Baekma River〉. Modernizing traditional plays has become a contemporary dramatists' topic of importance. Most dramatists devote themselves to the work of modernizing a Shaman ritual of Gut to seek out a Korean archetype. Since Gut can always make past and present, reality and illusion, and this world and the other world harmonized spontaneously in the same space and time, it has been thought of very attractive. Especially, in that its mechanism is a course that leads conflict and opposition to reconciliation, Gut has a greater correlation to a play.
This element characteristics is introduced very actively in 〈In a Moonlight Night of Beakma River〉. First, on the aspect of the plot, "Eunsan Byulsin-Gut" and "Bari Princess" offer the frame for its composition. Especially, 'Sundan', a dramatic character, has a similarity to Bari Princess.
Next, on the aspect of content, I looked into "Coexistence of ordinary feature and ritual one" and "Madness and Super-logicality" In "Coexistence of ordinary feature and ritual one", Oh describes that the dramatic principle of 〈In a Moonlight Night of Baekma River〉 is based on a Shaman imagination, that is, a harmony of space and time. Particularly, in "Scene on going on the stone bridge" in the latter half, it is shown that a real figure and a mythic figure are joined together without any difference. This ritual is also connected to consciousness that the dead are closely related to the living.
"Madness and Super-logicality" gives and account of 〈In a Moonlight Night of Beakma River〉's ending part, where the mechanism of Gut is made use of. Gut has a structure that conflict and opposition end in an amicable settlement. The Motif of King Eu-ja who was reincarnated as a school captain at the in the conclusion, is a part which presents a little logical jump. Farther prudential link should have been made so that the work could have been formed as one preserved super-logicality, escaping illogicality.
In this way, Gut is a treasury from which you can extract rich imagnation and new devices on a stage. It, however, can result in another problem, an excess of subjectivity, if the source itself depends on just imagination. That is, you ought to bear logical linkage based on free imagination in mind.<SUB></SUB>
This element characteristics is introduced very actively in 〈In a Moonlight Night of Beakma River〉. First, on the aspect of the plot, "Eunsan Byulsin-Gut" and "Bari Princess" offer the frame for its composition. Especially, 'Sundan', a dramatic character, has a similarity to Bari Princess.
Next, on the aspect of content, I looked into "Coexistence of ordinary feature and ritual one" and "Madness and Super-logicality" In "Coexistence of ordinary feature and ritual one", Oh describes that the dramatic principle of 〈In a Moonlight Night of Baekma River〉 is based on a Shaman imagination, that is, a harmony of space and time. Particularly, in "Scene on going on the stone bridge" in the latter half, it is shown that a real figure and a mythic figure are joined together without any difference. This ritual is also connected to consciousness that the dead are closely related to the living.
"Madness and Super-logicality" gives and account of 〈In a Moonlight Night of Beakma River〉's ending part, where the mechanism of Gut is made use of. Gut has a structure that conflict and opposition end in an amicable settlement. The Motif of King Eu-ja who was reincarnated as a school captain at the in the conclusion, is a part which presents a little logical jump. Farther prudential link should have been made so that the work could have been formed as one preserved super-logicality, escaping illogicality.
In this way, Gut is a treasury from which you can extract rich imagnation and new devices on a stage. It, however, can result in another problem, an excess of subjectivity, if the source itself depends on just imagination. That is, you ought to bear logical linkage based on free imagination in mind.<SUB></SUB>
목차
1. 머리말
2. 무속제의와 서사무가의 차용
3. 무속적 상상력과 창조적 해석
4. 맺음말
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2010-911-002502199