luody

CNKI 中国博士学位论文全文数据库

韩国假面剧研究

Studay on Korean Masque  

【作者】韩英姬

【导师】金虎雄

【作者基本信息】延边大学，亚非语言文学，2010年，博士

【摘要】 假面剧是韩国传统演剧,它发端于原始祭礼仪式,发展于宫廷和民间,朝鲜朝末期形成原始戏剧的最终形态。在近现代化的发展历程中,由于种种原因,假面剧大量失传。光复后韩国保持民族传统艺术的呼声日益俱增,60年代提出保护非物质文化政策,使失传的假面剧得以恢复。目前,在韩国作为国家非物质文化遗产传承下来的假面剧共有13部。这些假面剧是朝鲜民族戏剧的宝贵遗产。本论文以上述13部假面剧为研究对象,以戏剧学研究方法为先导,兼用民俗学、文化学、社会学研究方法,从历史层面、文学层面、戏剧层面、接受层面、功能层面逐一进行论述,由此探讨假面剧独有的戏剧特征。假面剧的历史层面,首先,从韩国的面具概况考察,论述韩国假面剧的面具制作材料、制作技术及面具的色彩和面具的情态特征；其次,通过对韩国假面剧的前戏剧——仪式的考察,分析仪式所具有的模拟性、交流性和娱乐性等戏剧属性,论述假面剧起源于仪式；最后,从历史视角考察假面剧发展足迹。一方面在乡村城隍祭系统发展成为先仪后戏的民俗戏剧。另一方面在宫廷山台戏系统发展的假面戏,到朝鲜朝末期,由于朝廷财政困难,傩礼优人们定居于各地,与民间才人、广大合流,走村串乡表演诙谐逗乐的笑谑之戏,最终假面剧以民间戏剧形态定型。假面剧的文学层面,首先从思想内容方面探讨假面剧所承载的主题。在假面剧中,没有惊心动魄、举世闻名具有震撼力的故事情节,而是以日常生活平凡而琐碎的事情为题材,以民众的视角,诙谐、滑稽的喜剧手法,讽刺道貌岸然的僧侣披着佛教的外衣,背地淫乱的伪善性；嘲弄不学无术、游手好闲的两班带着两班人格面具,炫耀自己身份地位和学识的愚笨的“残班”；嘲笑日常琐碎生活中粗俗、媚俗的人和事件。其次,从假面剧的结构考察,分析假面剧结构与“闭锁式”结构和“开放式”结构的异同,论述假面剧“展览式”结构特征,进而论述假面剧的“展览式”结构整一于统一的主题和喜剧风格。最后,从假面剧的时空考察,探讨假面剧的时间和空间,论述假面剧超越现实时空的自由性和无限性。假面剧的戏剧层面,由于假面剧所具有文学性和戏剧性,假面剧要实现它的戏剧价值,必须以演员的表演为媒介,将非直观的文学形象化为直观的具体的舞台形象。演员通过语言、舞蹈、音乐、舞台造型等表现手段,创造直观的假面剧。首先,从假面剧的语言考察,分析假面剧有声语言和态势语言的二重涵义,进而论述假面剧语言的“留空”原理。其次,从假面剧的音乐考察,分析假面剧音乐与一般戏剧音乐之异同,重点论述朝鲜民族“长短”,指明假面剧音乐涵盖的内容,探析音乐引领假面剧情感的特征。再次,从假面剧舞蹈考察,分析假面剧舞蹈与一般艺术舞蹈的异同,重点探究假面剧舞蹈的人物舞蹈、态势舞蹈、情节舞蹈和仪式舞蹈的特征,进而论述舞蹈是假面剧不可或缺的有机组成部分。最后,从舞台造型手段考察,论述假面剧舞台造型与一般戏剧舞台造型的异同,指出照明、道具、化妆和服装是假面剧舞台造型的重要要素,它们共同作用于假面剧创作,是假面剧创作不可或缺的辅助手段。假面剧的接受层面,首先从假面剧的媒介特性考察,探讨假面剧的交流符号和媒介,分析假面剧非物质性舞台特征,进而论述假面剧观赏游离于“参与”与“旁观”的接受方式。其次,从假面剧的“观—演”观考察,分析观众的涵义,论述斯氏流派、布氏流派、梅氏流派的“观—演”特点,探明假面剧“垂直交流”与“水平交流”相统一的“观—演”特点。最后,从假面剧的审美接受考察,分析假面剧观众审美娱乐的期待视野,论述假面剧接受“移情”与“间离”相统一的原理。假面剧的功能层面,首先从假面剧的社会批判功能切入,点破两班不学无术的愚笨,批判两班虚伪的本质；撕破僧侣落俗破戒的本质,揭露动摇的朝鲜王朝排他的专制统治；展现百姓的日常生活,批判了朝鲜王朝腐朽的专制统治。其次,从假面剧的情感宣泄功能切入,分析假面剧解决矛盾的“中和”特征,论述假面剧消解矛盾的方法——“神明普里”；分析假面剧语言和动作的“狂欢化”特征,深刻地批判和抨击了朝鲜朝不合理的伦理道德观念。最后,从假面剧的艺术风格切入,论述假面剧滑稽性和讽刺性的喜剧风格。  

【Abstract】 Masque is a traditional Korean drama, which originated from a primitive memorial service for the ancestors, developed in royal court and among common people, and came into being as a final form of an original drama in the late Korean dynasty. During the development of modernization, owing to various reasons, a number of mask dramas have been lost. After national liberation, with the increasingly demand for keeping traditional arts, a new policy for protecting immateriality culture was put forward in the 1960s, and the lost masque was resumed. At present, there exist 13 mask dramas which have been passed down as an inheritance of national immateriality culture, and which are invaluable legacy in Korean national dramas. The thesis aims to study 13 mask dramas, making main use of dramatics combined with the method of folklore, cultural theory and sociology, and to explore the unique characteristics of mask dramas in terms of history, literature, drama, reception and function.In terms of history of mask dramas, the study first surveys Korean masks, discussing the manufacturing materials, manufacturing technology, colors and emotional characteristics of masks, and then according to the ceremony, which is a former drama of Korean masque, analyses the property of simulation, communication and entertainment which a ceremony possesses, and proves masque originated from the ceremony. The study traces the development of masque in historical perspective. On the one hand, country ceremony for a tutelary deity developed to folk drama. On the other hand, court's sandae drama developed into mask drama. In the late Korean dynasty, with court in financial difficulties, a lot of refugees settled down in all parts of country, meeting and communicating with folk acrobats, going through villages and countryside to perform in humorous, funny ways, and thus the mask drama was finally being established as a form of folk drama.In terms of literature of mask dramas, the study first discusses the thought content, the theme of masque. Mask dramas are based on common and trivial things in daily life, from the perspective of common people and in a humorous and facetious way, satirize monks who appeared sanctimonious but showed hypocrisy of licentious in the rear; laugh at the Yangban, special noble class in Korean dynasty who were doing nothing and ignorant, but showing off their social status and learning, and therefore was called as Canban, meaning stupid and foolish noble class; and scorn vulgar and mean things and people. The study then investigates the structure of mask dramas, discussing the characteristic of "exhibition pattern", and how it is integrated into the theme and comedy style. At last, the study explores the space-time of masque, discussing the freeness and infinity of masque which surpass the space and time of reality.In terms of drama, the study investigates the language of masque which possess double meanings, one with sound and the other that is expressed with gesture, and further analyzes the "Leaving a blank" principle of masque. The study then investigates the music of masque as well as the connotation that music expresses, and explores the characteristic of music which leads to the emotion of masque, focusing on Korean "length of music", that is the rhythm of music. And then the study explores the dancing of masque as well as its characteristic including person dancing, posture dancing, plot dancing and ceremony dancing, and thus proves that music is an indispensable part of masque. Lastly, the study explores the means of stage modeling, including lighting, instrument, makeup and costume as essential parts of stage modeling, which function together in the creation of masque as supplementary measures of masque.In terms of reception of mask dramas, the study investigates the characteristic of masque as a medium and communicating symbol, analyzes the characteristic of immaterial stage, and further discusses the reception style of masque which wanders between "participation" and "on-looking", i.e. enjoyment and dissociation. Then the study explores "watch-perform" notion of masque, analyzes the meaning of audience, introduces the feature of "watch-perform" which has been carried out by the Sa faction, Bu faction and Mae faction, and discusses how "vertical communication" and "level communication" are integrated into "watch-perform". Finally, the study explores the aesthetic reception of masque, analyzes horizon of expectations to aesthetic entertainment, and insists that "empathy" and "separation" should be integrated together.In terms of function of mask dramas, the study discusses its function as social criticism, criticizes the nature of Yangban, Korean noble class, exposes the essence of violation of the Buddhist commandments, and criticizes corrupt absolute monarchy of Korean dynasty. Then the study discusses its function as catharsis of emotions, analyzing its feature of "neutralization" to solve conflicts as well as another way of eliminating conflicts, "Shinmyeongpuri", and its feature of "carnival" shown by language and actions, and thus strongly attacks and criticizes the irrational ethic concept of Korean dynasty. At last, the study analyzes the comic style of masque such as satire and irony.  

【关键词】 韩国假面剧; 文学特征; 载体; 审美接受; 审美功能; 艺术风格

【Key words】 Korean masque; literary characteristic; carrier; aesthetic reception; aesthetic function; art style

【网络出版投稿人】延边大学 【网络出版投稿时间】2010-08-06 【网络出版年期】2010/09

【DOI】CNKI:CDMD:1.2010.132637 【分类号】J830.9 【下载频次】1 攻读期成果