The study is to uniquely position [the Burlesque of Jin-ju] among the Burlesques of the West coast regions of Gyeong-nam Province, by specifying the features of the [Jin-ju Burlesque], based on the recognition that it[[Jin-ju's Burlesque] differs from the others in its layout, contents, subject and ...
The study is to uniquely position [the Burlesque of Jin-ju] among the Burlesques of the West coast regions of Gyeong-nam Province, by specifying the features of the [Jin-ju Burlesque], based on the recognition that it[[Jin-ju's Burlesque] differs from the others in its layout, contents, subject and connection between episodes. To this end, It[the Burlesque of Jin-ju] is analysed in comparition with [the Burlesque of Ga-san], [the Burlesque of Tong-yeong], [the Burlesque of Go-seong], which bear the closest connection to it. First, there is no the [O-bang-sin-jang-mu] Episode in the [Tong-yeong Burlesque] and the [Go-seong Burlesque], but in the Episode I of [Ga-san Burlesque] and [Jin-ju Burlesque], so thatthe two episodes of [O-bang-sin-jang-mu] were compared each other. As for the [Ga-san Burlesque], its ceremonial elements have declined a lot, seen from the perspectives of the contents, motivation, masque, dance, the feature and colour of the hats, on the other hand, [Jin-ju Burlesque] not only maintains its ceremonial element; but features its refined beauty, dance and music. And the reason behind the change in the dance of the episode [O-bang-sin-jang-mu] is because it was re-created into the current one under the influence of [Ye-in Burlesque] and [Gyo-bang exorcism dance], and it seems to be obvious that its music has been influenced by the masked acrobats group called [Sot-dae-jaeng-i] who used to perform on the top of pole, and by the Korean music played in [Jin-ju Gyo-bang(a teaching School for men serving women entertainers). Second, You do not see dramatic scenes in the episode [the leper] of [Tong-yeong] and [Goseong Burlesque], and [the leper] episode of the [Ga-san] and [Jin-ju] has some extension in terms of the numbers of the characters and its contents, so that the [the leper] episode of the [Jin-ju Burlesque] is analysed, compared to that of [Ga-san Burlesque]. As for the backgrounds of the evolution of [the leper] episode of the Burlesques in the area of Gyeongnam province, there were a large number of leper concentration camps and hospitals, and the prevalence of shamanism, and the fact that the mask dance has its origin in exorcism. And the leprosy was considered one of the most fearful diseases, so that the leper emerged in the disease exorcism play which had been already in play as one of village exorcism plays. then its principle is similar to that of the disease of becoming an exorcist, but in {the leper] episode of [Jin-ju Burlesque], it is intended to prevent the leprosy through disease exorcism play. This inclination in the consciousness of the common seems to have contributed to the structure in which the [leper] episode comes after [O-bang-sin-jang-mu] episode, the strongest episode in ceremonial elements, making its form similar to that of the episode [O-bang-sin-jang-mu]. So therefore, [the leper] episode was played in a wish to prevent leprosy and smallpox while it was in its early stage of evolution, but then in its late stage it evolved to symbolize their will to get out of the fetters of the social status by birth then. Third, in the episode of aristocratic class [yangban] in the [Tong-yeong Burlesque] and the [Go-seong Burlesque], the character [Mal-ddu-gi] appears on the stage following the calling of the noble, and the conflicts rise by the bet-for birth suggested by the [Mal-ddu-Gi] between them. On the other hand, in the episode of [the noble(yangban)]of the [Jin-ju Burlesque], the nobel appear on the stage by the [Mal-ddu-gi]'s calling on the contrary, and there is no bet-for-birth setting, which is major comparative distinction. In the [Jin-ju Burlesque], the well-informed [Mal-ddu-gi] sexually insults and denigrates the noble into insignificant things laying around on the streets, by disclosing that the noble are not hume beings, so therefore there is no need for bet-for-birth setting. And it is the reflection of the consciousness of the common that the [Mal-ddu-gi] is featured as so intelligent person, maximizing the effect of satirization of the noble by taking the character into the domain of Learning and knowledge which used to be exclusive to the noble. And the level of saterization in [the noble] episode of the [Jin-ju Burlesque] is more intense than that in the [Tong-yeond Burlesque] and [Go-seong Burlesque] Fourth, the feature of the fourth episode, [the Buddhist monk], of the [Jin-ju Burlesque] is that it comes after the episode [the noble], feeding on the conflicts among the noble, the eight nymphs and the monk, while [the Monk] episode of the [Go-seong Burlesque] does ceremonial functions. As for the reason behind the change in Jin-ju Burelesque, the emergence of eight nymphs of the Association of Jin-ju Kisaeng(men serving women) of 20th century seems to have influenced the dramatic formation of the contents and its position. Such formulation of the episode [the Buddhist priest] between the episode [the noble] and the episode [the granny] pays a dramatic function which forms some connectedness in the development of characters and the event. even though, the episode [the granny] of the [Jin-ju Burlesque] is used to satirize the noble by the monk, and the monk by the noble in the setting where the two parties are opposed each other, but in the end the monk hints intension to return to Buddhism again. Therefore, it can be said that the episode [the monk] of the [Jin-ju Burlesque] expresses both 'the satirization of the noble and the necessity of intensification of missionary work in the Buddhism. Fifth, What makes different between them is that while the Granny and the Grandpa in the episode of the [Tong-yeong Burlesque] and [Go-seong Bulresque] appear on the stage as commons like its audience, the [Jin-ju Burlesque] features the Granny and the Grandpa as the nobel. In the [Tong-yeong Burlesque] and [Ga-san Burlesque], the Granny, a model woman obedient to confucianism, features the tragic life of the wedded wife who could not bear any child but died because of the son of the mistress. On the other hand, the granny in [Jin-ju Burlesque] is not traditional role model of Korean women but features as a dishonest person who was condemned to death, but then resurrected thorough the performance of exorcism. And the grandpa was also forgiven through the performance of exorcism for his evil history in the episode [the noble], [the monk] and[the granny]. Therefore it can be seen like this that the episode [the granny] in the [Jin-ju Burlesque] features the disintegration and restoration of the family of the noble granny and the lord. While the origin of the granny in the [Jin-ju Burlesque] can be traced back to the goddess belief, the granny in the [Tong-yeong Burlesque] and [Go-seong Burlesque] is ceremonial replacement of the old goddess. the granny in the [Jin-ju Burlesque] features powerful aspect of the goddess's productivity by performing the act of child birth, urinating and the healing her son from smallpox. But the granny in [Jin-ju Burlesque] needs to renew her godly power through her death and exorcism because of the son who is born out of the marriage, and the grandpa is purified of his evil history through exorcism, thus the element of exorcism can be found here in the fact the granny and the grandpa recover their godly power. In this perspective, the [Jin-ju Burlesque] expresses well the direction of folklore by recovering to occasion of harmony and exhilaration.
The study is to uniquely position [the Burlesque of Jin-ju] among the Burlesques of the West coast regions of Gyeong-nam Province, by specifying the features of the [Jin-ju Burlesque], based on the recognition that it[[Jin-ju's Burlesque] differs from the others in its layout, contents, subject and connection between episodes. To this end, It[the Burlesque of Jin-ju] is analysed in comparition with [the Burlesque of Ga-san], [the Burlesque of Tong-yeong], [the Burlesque of Go-seong], which bear the closest connection to it. First, there is no the [O-bang-sin-jang-mu] Episode in the [Tong-yeong Burlesque] and the [Go-seong Burlesque], but in the Episode I of [Ga-san Burlesque] and [Jin-ju Burlesque], so thatthe two episodes of [O-bang-sin-jang-mu] were compared each other. As for the [Ga-san Burlesque], its ceremonial elements have declined a lot, seen from the perspectives of the contents, motivation, masque, dance, the feature and colour of the hats, on the other hand, [Jin-ju Burlesque] not only maintains its ceremonial element; but features its refined beauty, dance and music. And the reason behind the change in the dance of the episode [O-bang-sin-jang-mu] is because it was re-created into the current one under the influence of [Ye-in Burlesque] and [Gyo-bang exorcism dance], and it seems to be obvious that its music has been influenced by the masked acrobats group called [Sot-dae-jaeng-i] who used to perform on the top of pole, and by the Korean music played in [Jin-ju Gyo-bang(a teaching School for men serving women entertainers). Second, You do not see dramatic scenes in the episode [the leper] of [Tong-yeong] and [Goseong Burlesque], and [the leper] episode of the [Ga-san] and [Jin-ju] has some extension in terms of the numbers of the characters and its contents, so that the [the leper] episode of the [Jin-ju Burlesque] is analysed, compared to that of [Ga-san Burlesque]. As for the backgrounds of the evolution of [the leper] episode of the Burlesques in the area of Gyeongnam province, there were a large number of leper concentration camps and hospitals, and the prevalence of shamanism, and the fact that the mask dance has its origin in exorcism. And the leprosy was considered one of the most fearful diseases, so that the leper emerged in the disease exorcism play which had been already in play as one of village exorcism plays. then its principle is similar to that of the disease of becoming an exorcist, but in {the leper] episode of [Jin-ju Burlesque], it is intended to prevent the leprosy through disease exorcism play. This inclination in the consciousness of the common seems to have contributed to the structure in which the [leper] episode comes after [O-bang-sin-jang-mu] episode, the strongest episode in ceremonial elements, making its form similar to that of the episode [O-bang-sin-jang-mu]. So therefore, [the leper] episode was played in a wish to prevent leprosy and smallpox while it was in its early stage of evolution, but then in its late stage it evolved to symbolize their will to get out of the fetters of the social status by birth then. Third, in the episode of aristocratic class [yangban] in the [Tong-yeong Burlesque] and the [Go-seong Burlesque], the character [Mal-ddu-gi] appears on the stage following the calling of the noble, and the conflicts rise by the bet-for birth suggested by the [Mal-ddu-Gi] between them. On the other hand, in the episode of [the noble(yangban)]of the [Jin-ju Burlesque], the nobel appear on the stage by the [Mal-ddu-gi]'s calling on the contrary, and there is no bet-for-birth setting, which is major comparative distinction. In the [Jin-ju Burlesque], the well-informed [Mal-ddu-gi] sexually insults and denigrates the noble into insignificant things laying around on the streets, by disclosing that the noble are not hume beings, so therefore there is no need for bet-for-birth setting. And it is the reflection of the consciousness of the common that the [Mal-ddu-gi] is featured as so intelligent person, maximizing the effect of satirization of the noble by taking the character into the domain of Learning and knowledge which used to be exclusive to the noble. And the level of saterization in [the noble] episode of the [Jin-ju Burlesque] is more intense than that in the [Tong-yeond Burlesque] and [Go-seong Burlesque] Fourth, the feature of the fourth episode, [the Buddhist monk], of the [Jin-ju Burlesque] is that it comes after the episode [the noble], feeding on the conflicts among the noble, the eight nymphs and the monk, while [the Monk] episode of the [Go-seong Burlesque] does ceremonial functions. As for the reason behind the change in Jin-ju Burelesque, the emergence of eight nymphs of the Association of Jin-ju Kisaeng(men serving women) of 20th century seems to have influenced the dramatic formation of the contents and its position. Such formulation of the episode [the Buddhist priest] between the episode [the noble] and the episode [the granny] pays a dramatic function which forms some connectedness in the development of characters and the event. even though, the episode [the granny] of the [Jin-ju Burlesque] is used to satirize the noble by the monk, and the monk by the noble in the setting where the two parties are opposed each other, but in the end the monk hints intension to return to Buddhism again. Therefore, it can be said that the episode [the monk] of the [Jin-ju Burlesque] expresses both 'the satirization of the noble and the necessity of intensification of missionary work in the Buddhism. Fifth, What makes different between them is that while the Granny and the Grandpa in the episode of the [Tong-yeong Burlesque] and [Go-seong Bulresque] appear on the stage as commons like its audience, the [Jin-ju Burlesque] features the Granny and the Grandpa as the nobel. In the [Tong-yeong Burlesque] and [Ga-san Burlesque], the Granny, a model woman obedient to confucianism, features the tragic life of the wedded wife who could not bear any child but died because of the son of the mistress. On the other hand, the granny in [Jin-ju Burlesque] is not traditional role model of Korean women but features as a dishonest person who was condemned to death, but then resurrected thorough the performance of exorcism. And the grandpa was also forgiven through the performance of exorcism for his evil history in the episode [the noble], [the monk] and[the granny]. Therefore it can be seen like this that the episode [the granny] in the [Jin-ju Burlesque] features the disintegration and restoration of the family of the noble granny and the lord. While the origin of the granny in the [Jin-ju Burlesque] can be traced back to the goddess belief, the granny in the [Tong-yeong Burlesque] and [Go-seong Burlesque] is ceremonial replacement of the old goddess. the granny in the [Jin-ju Burlesque] features powerful aspect of the goddess's productivity by performing the act of child birth, urinating and the healing her son from smallpox. But the granny in [Jin-ju Burlesque] needs to renew her godly power through her death and exorcism because of the son who is born out of the marriage, and the grandpa is purified of his evil history through exorcism, thus the element of exorcism can be found here in the fact the granny and the grandpa recover their godly power. In this perspective, the [Jin-ju Burlesque] expresses well the direction of folklore by recovering to occasion of harmony and exhilaration.
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