韩国盘索哩与中国鼓词比较论

Comparative Study of Korean Pansori and Chinese Guci

韩国盘索哩与中国鼓词,最初都是由盲艺人负鼓在各村落之间流动说唱,因此二者除具备讲唱艺术的一般特性——即韵散结合说唱交错的表演方式、第三人称代言体、文学脚本的多重创作、道具的类似性之外,至少在三个方面具有亲缘性:其一,伴奏方式的相似及表演程式的类同。即以鼓为主要伴奏乐器,后期加入三弦、伽倻琴等弦乐伴奏;表演之前都有定场诗,且多使用夸张铺陈的夸赞体;其二,传承发展的相近。二者都经历了早期在乡村的长篇说唱到城市之后的摘唱,以及成熟之后与小说的影响和反影响;其三,承载思想的同一。二者产生的文化土壤都是儒家伦理体制内的庶民阶层,因此都具有乐天知命的性格;佛教带来的轮回报应思想,形成了二者共同的劝善惩恶主题。

Korean Pansori and Chinese Guci, were initially played by the blind performers who always carried a small drum flowing between various villages. Therefore, the two kinds of art except for the general characteristics of the talking and singing art, which is the popular entertainment consisting mainly of talking and singing, and spoken by the third person, unceasingly created by artists, the resemble props act, there are three similarity between them at least. First, the resemble accompaniment and performance. That means taking the drum as the main accompany instrument, later joining into the other string music such as three-stringed, Gayageum act. Meanwhile, making the first appearance the actors will read the poem, and entering into the show they like using exaggerated language. Secondly, they have the similar heritage and development. Both of them experienced earlier lengthily act in the countryside to the city after which have to pick to sing, and when ripe they have the interaction with novel. The third, containing the same thought, they have common cultural soil which based on the confuciusm, making the both arts to he optimism. Furthermore, samsara ideology which produced in Buddhism, promote a collective theme.