A study of Tal-choom together with certain western analogies
Date
2018-06-08
Authors
Kim, Hye-Soon
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Abstract
Tal-choom is a generic term for various types of Korean mask-dance theatre that have been performed during traditional holidays and festivals over the past three hundred years. Literally 'tal' means mask and 'choom' dance. The purpose of this study is to examine the theatrical conventions of Tal-choom, its development as popular theatre, and its significance in terms of social and political changes in past and present Korea. Four types of Tal-choom continue to exist today, all being derived from their geographic origins. I have chosen to examine the Pong-san Tal-choom, which is the most widely recognized, performed type, and common to the area around north-eastern Korea. In this study, I present not only the nature of Tal-choom and its effect upon its audience but draw parallels with popular theatre. I focus on six main areas: (1) the contemporary context of Tal-choom as popular theatre; (2) the origin and development of Tal-choom; (3) the structure and performance conventions of Tal-choom; (4) the description of the cast, masks, costumes and props; (5) the performer training and the transmission of the oral tradition; and (6) audience participation. In order to convey Tal-choom more vividly, I have also translated and provided a Pong-san Tal-choom scenario. While examining the role of the participating audience and the relationship to ancient fertility festivals in Tal-choom performance, I have drawn an analogy to the Rolling Stones' "Steel Wheels" concert which took place in 1989, as a means of clarifying Tal-choom's strength as popular theatre. I firmly believe that anyone can come to a Tal-choom performance in South Korea with the same confidence he or she brings to a rock concert as an audience member in the West.
Through recognition of both the topical uniqueness and the particular characteristics of Tal-choom, this study should enable scholars to embrace more readily the universal nature of theatre. No longer can we, nor should we, ignore the power and influence of the isolated, regional theatre traditions in our study of world theatre.
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Theater, Dance, Masques, Korea