HAHOE PYOLSIN-KUT: THE OLDEST EXTANT KOREAN MASK-DANCE THEATRE.
Item
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Title
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HAHOE PYOLSIN-KUT: THE OLDEST EXTANT KOREAN MASK-DANCE THEATRE.
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Identifier
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AAI8801726
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identifier
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8801726
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Creator
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KIM, DEUKSHIN.
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Contributor
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Vera M. Roberts
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Date
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1987
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Language
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English
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Publisher
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City University of New York.
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Subject
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Theater
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Abstract
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Hahoe pyolsin-kut, the oldest extant Korean mask-dance theatre, serves as the prototype for Korean mask-dance theatre because of its long history, its uniquely preserved masks, and its extremely ritualistic characteristics. Nevertheless, hahoe pyolsin-kut has not been investigated thoroughly by any scholar.;The purpose of this dissertation is to explore hahoe pyolsin-kut fully as a complete cultural phenomenon: (1) historical background, (2) general setting relating to village ritual, (3) masks, (4) performers, (5) stage, (6) costumes, (7) properties, (8) music, (9) dance, and (10) dramatic values. An attempt will be made to cover all aspects of hahoe pyolsin-kut to discover both its unique theatrical quality and dramatic values.;The extant hahoe pyolsin-kut, although having its origin in ancient times, is believed to have been firmly established in the middle of the Koryo dynasty, i.e., during the twelfth century, and continued to be performed until 1928. Hahoe pyolsin-kut provided a psycho-therapy for mental patients, a sociological outlet from the tensions of a stratified society, a psychological relief from the hardships of survival and from calamities, and physical release from arduous manual labor. Villagers believed that hahoe pyolsin-kut could promise an abundant harvest and village safety by pleasing the tutelary deity, songhwang-nim. Also, hahoe pyolsin-kut was a festival, in which people could celebrate special observances, rest from work, and enjoy entertainments. Indeed, hahoe pyolsin-kut was a theatre, a ritual, and a festival.;Hahoe pyolsin-kut contains farcical elements creating humorous laughter. In this dissertation, an effort has been made to compare it with Greek satyr play, kyogen, and commedia dell'arte within a farcical framework. Also, hahoe pyolsin-kut is a theatre of improvisation. It has been orally transmitted; thus in a strict sense, it has been rearranged at each production because its performers improvise their verbal and nonverbal stage expressions. In these respects, for the future study of hahoe pyolsin-kut, it will be desirable to compare it with the ritualistic theatre, the farcical theatre, as well as the improvisational theatre.
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Type
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dissertation
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Source
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PQT Legacy CUNY.xlsx
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degree
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Ph.D.
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Program
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Theatre
