User:Yerim Han/Theater in South Korea

A play is an art in which an actor shows an event or character to the audience in gestures, gestures, and words depending on the play on the stage. In Korea, rituals related to shamanism and totemism began and developed into plays in the agricultural society. This article will explain the development of Korean theater.

Goguryeo music (고구려악)
It is a performing art of Goguryeo that is so artistic that it is included in the Seven Bugi(七部伎), Nine Bugi(九部伎), and Ten Bugi(十部伎) of the Sui and Tang Dynasties of China. (Ten Bugi is a ten-piece performing arts established by King Taejong of the Tang Dynasty between 11th and 16th (637-642) in Jeonggwan. It is also called a duodenum. ) Goguryeo music had its own side, which was different from Western music. In other words, Goguryeo music originally accepted Western music, but it seems to have developed in combination with the traditional music of Goguryeo and established new music. In addition, Goguryeo had Western musical instruments and masks, so the names Baekje and Silla music disappeared from Japan and were introduced to the name of Goryeoak (高麗樂, Komogaku). Hoseonmu is a representative of Goguryeo music. Hoseonmu of Goguryeo is a play where a player stands on a ball and spins as fast as the wind, and it is said that Hoseonmu of Goguryeo was very outstanding. However, it does not seem that Hoseonmu was necessarily dancing on the ball. It was just something that could be performed on the floor, but it was a dance that rotates very fast like the wind.

Baekje music (백제악)
In 554, four Baekje musicians were dispatched to the Japanese government to teach Hoengjeok(횡적), Gunhu(군후), Makmok(막목), and dance. In 612, Mimaji(미마지), a Baekje man, delivered to Japan the instrumental music he learned from the Five Kingdoms of China. Gunhu taught by Baekje musicians turned out to be Geomungo, while Makmok(막목) was found to be DoPiPiri(도피피리), while instrumental music taught by Mimaji is a type of masquerade play like Korean sandaedogam play(삼대도감놀이) or Bongsan mask dance(봉산탈춤). The mask of Giakmu(기악무) is currently being delivered to Tōdaiji, Japan.

Silla music(신라악)
Silla unified the three kingdoms in the late 7th century and collected the music of Gaya, Baekje, and Goguryeo together, most of which were handed down to later generations as Silla music. Although the details of Gammu Baek-hee, who was played at Palgwanhoe, are not known in detail, the remaining events in the record include "Gummu(=sowrd dance)", "Muaemu", "Cheoyongmu", and Ogi.

"Gummu(검무)" is known as "Hwangchangmu(황천무)", and its origin is "Donggyeong Japgi(동경잡기)" and "Jeungbo Munheon Bibigo(증보문헌비고)" which say that a seven-year-old boy named Hwang Chang-rang of Silla killed the Baekje king under the guise of sword dance and was killed by the Baekje people, so the Silla people were reluctant to wear masks and imitate his dance. However, it is presumed to have originated from the fact that the real soldier, Gwanchang, was actually a true hero. It can be seen that this "Gummu(검무)" was not just a sword dance, such as a simple battle mission or a dragon sword trick, but rather a mask-wearing, more theatrical mask dance Gumhui(검희). Gummu was passed down from the private sector to the royal court during the reign of King Sunjo of the Joseon Dynasty, and was passed down by gisaeng until the end of the Joseon Dynasty.

Even after entering the palace, he used a sword that had no abrasion and had no sword, and he wore a vestibule, a vestibule, and a vestibule, and raised the sword, but Mutae was changed to a gentle movement of the yeommu rather than the gallantry as a mumu.

As for the origin of "Muaemu(무애무)," there is a story of acting related to Wonhyo(원효) in "The History of the Three Kingdoms," but "Goryosa(고려사)" and "The Treasures of Evil Studies" reveal that "Muaemu(무애무)" originated from the West and used a lot of non-verbal words. In addition, the dance is described as a dance in which various colors of silk cloth is waved at the top of the whistle gourd and various colors of dance moves, but it can be seen that the dance has already been performed as a musical instrument of this place, which has been transformed from the purpose of Buddhist painting to entertainment. "Muae-mu" increased to 12 people during the Goryeo and Joseon periods, and the lyrics of the Buddhist family, which was sung while dancing, were also changed to a song to celebrate the prosperity of the royal family. Records such as "The Annals of King Sejong" in August 16 indicate that the dance was quite entertaining not only in the royal court but also in the temple.

"Cheoyongmu(처용무)" originated in Silla and was passed down to the Joseon Dynasty through Goryeo. It became the center of Narye(나례) (= ritual for exorcism in the royal court wearing Cheoyong mask(처용탈) and dancing as an old tree). In addition, the royal court's liaison official records show that during the Goryeo Dynasty, high-ranking officials and even the king performed "Cheoyongmu," and it was also performed at a reception for foreign envoys. In addition, "Cheoyongmu" of Goryeo was one of the central plays of Sandaejapgeuk.

Goryeo Dynasty
=== Sandaejapgeuk === In the 33rd volume of "Mokgeunjip(목건집)" by Yi Saek(이색) (1328-1396) at the end of the Goryeo Dynasty, the historical drama from Dongdaemun(동대문) to the palace gate was never seen before. It is appropriate to interpret it as meaning that it was not first taken into custody at this time, but rather that it was a new aspect that had never been seen before. At the end of the Goryeo Dynasty, Baekhee Japgi(백희잡기) reached a higher level than the previous period, and this was called Sandaejapgeuk.

Nahui
Changsha and Ai Chorani performed their own masks and exorcisms, and after the ceremony, various musicians entered the second part to perform the performance of Gamu Baekhee(가무백희). Other than acrobatics, such as the obang Gwimu, acrobatics such as swallowing fire, mask play by Westerners, Chinese Dapgyo(답교) play, Cheoyongmu(처용무) and Baeksumu(백수무) dance are held, and all except acrobatics and daegyo(답교) are mask dance or mask dance. The characters of mask play during the Goryeo Dynasty were diverse.

Kahui
It was Cho-hee who showed the beginning of Korea's traditional painting style with a play centered on jokes, not just dancing. In April 1165 (the 19th year of King Uijong's reign), various people's games included a ritual offering game in which the eunuchs from left to right set up a house as a contest and foreign residents came to Goryeo to offer their tribute.