Ritual transformation techniques in Kut performance practices. Three forms of Korean shamanist theatre: Jeontong kut, Tal kut, Madang kut.

摘要

The harmonized transformation in Kut performance, in which the performers and spectators are mutually aware of the presence of the invited spirit, and in which they affect each other by the dynamic process of transformation, continues to be a vital essence in the aesthetic conventions of the Korean theatre. It is my argument that the Jeontong kut, Tal kut, and Madang kut performances, by virtue of its spiritual power of transformation, diverse aesthetic conventions, and the content of its socio-cultural messages, represent the classical as well as contemporary tradition of the Korean theatre.;Kut is a shamanistic theatre form that integrates theatrical with religious experience by sharing archetypal patterns and actions directly with spectators. Kut also signifies a shamanistic theatre controlled primarily by a shaman/actor. The performance of a Kut requires "ritual transformation techniques" of a shaman/actor who can transform his/her awareness of time, space, and characters. Ritual transformation techniques are used to induce a state of transformation in the performers and to bring them back from it. All of which leads to a spontaneous participation by the spectators who eventually transform their awareness of time and space following the progress of the performance.;The participants of Kut performances collectively state 'what they believe themselves to be' through the system of meanings. This system of meanings of Kut that is based on 'arche-pattern of chaos' leads them to discover a contradiction, structural conflict, and spiritual contamination in the community. Performances of Kut also dramatize basic assumptions of established reality and value in the culture, which is either confirmed without changes or reconstructed and reestablished during the course of the Kut performances.;The ritual transformation techniques in Kut performance practices, which reflects the human desire to return to the free and eternal chaos forever or even for a moment, follow the archetypal structure of initial stage of invitation (Chongshin), intermediate stage of entertainment or confrontation (Oshin), and final stage of send-off and reintegration (Songshin). The harmonized and effective transformation of time/space, performer/spectator, and society is the ultimate purpose of Kut performance.