한국 정방형무대의 수용과 공간특성 -한중일 비교의 관점에서- = The Korean Employment of the Square Stage and its Space Characteristics -Comparison between Korea and China and Japan-

다국어 초록 (Multilingual Abstract)

The purpose of the study is to reveal some aspects of the early forms of stages of the ancient theatres from the viewpoints of changing acting spaces from field to stage for the right theoretical definition of the Korean theatre history. The most remarkable turning point in the theatre histories for China, Japan and Korea is the changing acting spaces from field to stage. The two transitional acting spaces demonstrate the critical period for establishing the playing stage distinctively as the new concept of the professional stage in the theatre from the field, the playing ground, which has been employed as the performing place. Accordingly, the study will deal with some characteristic viewpoints about theatrical histories in the light of the transitional acting space from the field to the stage as the changing process between the two theatrical denominations playing field and playing stage. Then the study is to discuss the concept of space in the traditional theatres of Korea through some observations on unique architectural styles of the stage and the auditorium and the structural differences of the acting spaces in China and Japan. The thesis consists of the four parts: 1. the appearance of the square stage 2. the spatial characteristics and application of ``Wuoldae(月臺)`` (a kind of square stone platform) 3. the space and Jang-Eom-Mul(莊嚴物, a kind of stage properties) of San-Dae-Jab-Geuk(散樂百戱) 4. A hallway(行廊)and auditorium. The four issues are as follows: (1) In their ancient theatres, the appearance of the open square stages in Korea and Japan is derived from Chinese Gyobang-Gamuhee(敎坊歌舞戱), a kind of courtly dancing in the period of Song Dynasty, China. The study will deal with some observations on continuity and changeability in the theatre histories of China and Japan which demonstrate architectural structure and form that accompanied the professional term ``stage.`` (2) The Korean Reception of the rectangular stage is not the transitional change from field to stage but the parallel space relationship coexisting between San-Ak-Baek-Hee, a kind of mixed plays, and Gyobang-Ak(敎坊樂), a kind of courtly music. Accordingly, the thesis want to take note of the fact that the existence of Korea`s ancient plays can be verified by the early reception of the square stage and the transitional process of theatrical structure in the light of the theatre histories. (3) San-Dae(山臺) of San-Dae-Jab-Geuk is the idea of the field space employed in the play Man-Yeon-Ji-Hee(曼延之戱)usually with the background setting of the Sacred Mountain. There will be discussions on the reasons why this kind of ideas of the theatrical spaces is succeeded to Lee Dynasty in Korea. (4) Theatres derive from the nation`s architectural forms. The good example is that Lu-Tai, the open stage, and hallway are the starting point of the theatrical space for stage and auditorium. The theatres in China or Japan in its comparison with Korea`s have various roofs and ceilings. Their wooden buildings with the protruded stage on three sides are used as the half indoor theatre, and the hallways of two or three-story theatre buildings as their galleries for audiences. The empty spaces of the old theatres are well employed as the passages for entrance or exit, dressing room, assistants` waiting room, and mirror room-a kind of space for wearing masks separated from the dressing room. Sometimes the theatrical architecture is also considered to be represented as the space for divine or healing purposes.

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