제주도 입춘굿의 연행원리 연구

Abstract

Jejudo Iypchoongut - the ritual of welcoming spring- is a fertility-ritual of Jejudo started from the ancient Tamraguk, and came down to us until the early year of the 20th century by historical tradition. This study mainly leads to analyze the principles of performance comprised in the performance before the 20th century, in which Jejudo-Iypchoongut was continually transmitted from generation to generation. Since 1960's, after breaking off the transmission, Jejudo-Iypchoongut has been tried to restore to the former performance again and again, and then became Urban Festival, called Tamraguk Iypchoongut-noli, recently. This study also makes a comparison between this restoration example, Tamraguk Iypchoongut-noli, and Jejudo-Iypchoongut. With the result that there are appreciable differences between Iypchoongut before the 20th century and the newly restored Iypchoongut. First of all, there are differences in appearance. the first, the past Iypchoongut is ritualic performance to be affluent in an agricultural society, whereas the present Iypchoongut is artistic performance reflected in both various world views of industrial society and each individual taste and interest. The second, the past Iypchoongut was peformed as a part of existence method by period, but the present Iypchoongut severally tried to restore to the former performance shows the temporary performance. The third, the former was clarified that the variable performance could change instantly by surrounding circumstances, while the latter is the stable performance which reproduces by dramatic text as it is. The next, in the side of the principle of performance, the examination about what is the principles of the past Iypchoongut and how Iypchoongut is transmitted are the followings The first, it was clarified that the past Iypchoongut shows the powerful incantation principles centered on imitation in Law of Similarity and conversion in Law of contact. On the contrary, the present Iypchoongut inclines to the artistic performance concentrated on the completion of performance style. The second, it was clarified that the past Iypchoongut was performed on the principles of compositon - Maji(reception), Puli(hymning), Noli(entertaining), Puli(releasing) - and the principles of flow - Nego(Introducing), Dalgo(Turning), Metgo(Concluding), Pulgo(Solving). Whereas the present Iypchoongut leans toward fixed matters as a matter of form, so the present Iypchoongut was clarified to accept the principles of western contemporary performing arts. The third is the principles of emotion in Jejudo-Iypchoongut. The past Iypchoongut powerfully worked on Sinmyung-Puli(liberation or release of spiritual human nature) realizing the public cherished desire. Iypchoongut is to solve together public problems extended by overcoming individual difficulties or realizing wishes by the medium of a god. However, the principles of Sinmyung-Puli disappeared in the present Iypchoongut, so Iypchoongut just works to temporarily release individual stresses. Although it shows the public festival in appearance, it reflects itself the mirror of today's individual inside. As above, this study analyzed the principles and the aspects of Jejudo- Iypchoongut. This discussion would not be properly estimated untill it vigorously applies for rising the completion of the present Iypchoongut, which has been newly restored to the former performance today.