16
Cultural Nationalism and the Values of Authenticity Chinese Street Opera Performance in Singapore Introduction Tong Soon Lee University of Durham, UK Discourses on the concept of culture in Singapore today often evoke comments on the questions of representation and the ensuing problems .of authenticity. With a predominantly Chinese population, Singapore is a secular country that recognizes Malay as the national language, English as the first language, and its constitution accords the Chinese, Malay, South Asian and Eurasian communities as the four ethnic nationalities. The politics of cultural representation in a pluralistic society is further compounded by the country's relatively recent independence in 1965. During the first two decades of independence, cultural discourses were aimed primarily at achieving a multiethnic identity for Singapore, maintained through the private celebrations and public displays of dance, ritual, food, architecture, music and other customs of the individual ethnic communities. From the mid-1980s, there was a significant emphasis in the state's conception of culture that transcended the disparate array of ethnic activities to the imagination of an overarching cultural ethos that is uniquely Singaporean, manifested in musical performances and other forms of social practices. In this paper, I focus on a particular performance event and examine how it appropriates locality, history and cultural polities to construct new, yet "authentic" meanings and values of culture in modern Singapore. 1 1 An earlier version of this paper was presented at the conference of the Society for

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  • Cultural Nationalism and the Values of Authenticity

    Chinese Street Opera Performance in Singapore

    Introduction

    Tong Soon Lee University of Durham, UK

    Discourses on the concept of culture in Singapore today often evoke comments on the questions of representation and the ensuing problems

    . of authenticity. With a predominantly Chinese population, Singapore is a secular country that recognizes Malay as the national language, English as the first language, and its constitution accords the Chinese, Malay, South Asian and Eurasian communities as the four ethnic nationalities. The politics of cultural representation in a pluralistic society is further compounded by the country's relatively recent independence in 1965. During the first two decades of independence, cultural discourses were aimed primarily at achieving a multiethnic identity for Singapore, maintained through the private celebrations and public displays of dance, ritual, food, architecture, music and other customs of the individual ethnic communities. From the mid-1980s, there was a significant emphasis in the state's conception of culture that transcended the disparate array of ethnic activities to the imagination of an overarching cultural ethos that is uniquely Singaporean, manifested in musical performances and other forms of social practices. In this paper, I focus on a particular performance event and examine how it appropriates locality, history and cultural polities to construct new, yet "authentic" meanings and values of culture in modern Singapore.1

    1 An earlier version of this paper was presented at the conference of the Society for

  • 48

    Chinese street opera in Singapore

    Chinese street opera refers to the performance of Chinese opera on make-shift stages constructed along the streets and in open areas. Often referred to as Chinese wayang, the street opera performance context is historically associated only with professional opera troupes. Professional troupes (hereafter referred to as wayang troupes) are profit-oriented companies performing street opera in religious contexts within residential estates. Their members are generally working-class personnel, not highly educated (in the formal sense), and have been trained in Chinese opera performance since they were teenagers. Since the 1970s, however, amateur opera groups began to stage Chinese street opera performances regularly in national events and festivities in the central business, shopping and tourist districts, organized and sponsored by art and cultural institutions. More importantly, their performances are framed within discourses on heritage preservation, cultural promotion, tourism and education in local history as part of the process of constructing a cultural identity for Singapore. Unlike members of wayang troupes, amateur performers often constitute the middle to upper class community. They are largely educated, hold full-time employment, and practice Chinese opera as a form of leisure, with occasional public performances usually held in indoor theatres. It is important to note that the designations, "professional" and "amateur," refers to structural differences in these two performing organizations, and are not necessarily indicative of the level of skill and performance standard.

    Chinese Theatre Circle

    In this paper, the event I am concerned with is the "Traditional Chinese Street Opera" performance by the Chinese Theatre Circle (CTC), a cultural event that began in August 1996, performed every Wednesday and Friday at Clarke Quay and sponsored by the Singapore Tourism Board and the Clarke Quay management.2

    Formed as an amateur group in 1981 and incorporated as a non-profit

    Ethnomusicology, Austin, Texas, November 18-21, 1999. I am grateful to Rene T.A. Lysloff, Bell Young, Yung Sai-Shing and Lily Kong for commenting on ideas presented in this paper at various stages of my study.

    2This performance event was discontinued at the end of 1999, though the discourse it has constructed remains relevant to continuing activities of the Chinese Theatre Circle and other amateur Chinese opera troupes in Singapore.

  • Cultural Nationalism and the Values of Authenticity 49

    professional arts company in 1995, CTC performs regularly in community clubs, indoor theatres and overseas, hosts an annual Chinese Opera Festival that began in 1992, and conducts Chinese opera workshops in the National Arts Council's Arts Education Programme. Two of its founding members, Joanna Wong and her student, Lou Mee Wah, were awarded the Cultural Medallion in 1981 and 1997 respectively, Singapore's highest honour for those who have made significant contribution towards arts and culture in Singapore. More importantly, CTC was awarded the "Excellence for Singapore" award in 1997 in recognition of their achievements in promoting Chinese opera locally and overseas, and in the process, bringing honour to Singapore.

    CTC now publicizes itself as a professional arts company, with several full-time staff that includes a chairperson, opera instructors, artistic directors, performers and musicians. However, it is different from the wayang troupes in terms of performance ideology, social perception, context, function and patrons. The central distinction that pertains to the current discussion lies in their performance ideology. While Chinese opera performance is an occupation for members of both groups, CTC advocates Chinese opera as a cultural! artistic activity and is publicly recognized for such an endeavour, while wayang troupes perform street opera strictly for customary and religious functions in Singapore today. Insofar as CTC and wayang troupes perform Chinese street opera, it is within the disjuncture created by their ideological differences that the politics of representation and authenticity emerge and intersect with broader social dynamics in modern Singapore.

    Clarke Quay

    Clarke Quay is a historical site along the Singapore River, an important location for the import and export of rice, gambier and pepper from the nineteenth to mid-twentieth centuries, largely populated by the Chaozhou and Fujian Chinese communities. Clarke Quay has historically been important locations for Chinese opera performance, especially Chaozhou opera, and other street entertainment such as storytelling. Today, it is a popular tourist area with outdoor games, merry-go-round, souvenir stalls in the form of huge push carts, foreign food joints, local food stalls, pubs that feature blues, jazz and rock music, as well as discotheques and Cantonese opera performances. Its primary emphasis is to reveal the significance of traditional and historical facets of Singapore through architectural refurbishment and imitation of historical practices in a modern context,

  • 50

    such as the "Barber and Cobbler" shop built in 60s' style and restaurants aboard replicas of traditional sailing boats known as tongkang. To this end, Clarke Quay is a locality that embodies the local and the foreign, high and popular cultures, the exotic and familiar, the traditional and modern, a social space that juxtaposes historical imagination, social sentiment, cultural memory and contemporary desire.

    The "Traditional Chinese Street Opera" event

    CTC's weekly performance at Clarke Quay is publicized in tourist brochures and newspaper reports as a traditional and "authentic" Chinese street opera event in Singapore. Indeed, casual conversations and eavesdropping amongst the audience at this event reveal similar perceptions. Given that there are about eight to ten wayang troup~s that are historically associated with the street opera tradition, performing Chinese street opera every evening around the island of Singapore, why is CTC's performance regarded as an authentic representation of this tradition? After all, in terms of performance context - the stage layout, length of performance, function, patrons and audience - CTC's presentation is vastly different from the current and past practices of Chinese street opera by wayang troupes. Yet, the ethnographic role in this context is not to reveal the "inauthentic" elements in CTC's performance, critique its mass appeal, or indeed, to decide that it is somehow "less authentic" than street performances by wayang troupes. Rather, the analytic task is to delineate the process by which this event acquires authenticity and in the process, examine the varied meanings produced through its performance.

    The performance structure of CTC's event remains somewhat constant in each performance, except for the musical preludes and the plays performed. The stage is a permanent fixture in the area, and preparation for a typical performance begins at about 5:30 pm, when a stage assistant arrives to arrange the chairs for musicians and layout the stage props. At 6:30 pm, the female performer arrives and starts putting on her make~up in front of the stage to allow a public viewing of the process. At about 6:45 pm, the musicians arrive to set up and tune their instruments that constitute the standard ensemble for Cantonese opera. At 7:30 pm, the crowd begins to build and a musical prelude starts off the performance at 7:45 pm, followed by a speech from Leslie Wong, Chairman of CTC. A 45-minute excerpt from a play is then performed by a male and a female performers, after which the performers descend the stage to chat and pose for a photography session with the audience. Among various performance characteristics of this event,

  • Cultural Nationalism and the Values of Authenticity 51

    the speech is indicative of CTC's ideology espoused through the performance event and the following quotation is a condensed version:

    "Good evening ladies and gentlemen, welcome to Clarke Quay Festival Village. The Chinese street opera is brought to you by Clarke Quay Singapore, with the support of the Singapore Tourism Board, and performed by the Chinese Theatre Circle. The Chinese street opera was a very popular street entertainment. It used to be a common sight in old Clarke Quay, especially during religious festivals .... In the past, families gathered in front of the opera stage with their own wooden benches to watch the shows. The audience would also peep behind backstage to watch the performers put on their elaborate makeup. The face colours and costumes adorned by the performers symbolise different types of characters and personalities.

    The opera tonight is performed by the Chinese Theatre Circle, Singapore's premier Cantonese opera group, a professional arts company. Established in 1981, its aim is to preserve and promote Chinese opera, drama, dance, and music. Since then, it has put [on] over one thousand shows in Singapore and overseas. It is certainly the most widely travelled troupe in Singapore, having performed in fifteen countries, spanning across five continents [and a full list of countries is then

    narrated in alphabetical order] .... It has also participated in the prestigious Edinburgh Festival. The troupe has won many honours and awards throughout the years, including the most recent "Excellence for Singapore" award from the Singapore government. The Chinese Theatre Circle is also responsible for organising the annual Chinese Opera Festival in Singapore. It is usually held in the month of March.

    In an effort to keep the age-old tradition alive, Clarke Quay is holding regular opera shows here at Gas Lamp Square, on every Wednesday and Friday, at 7:45 pm. You are welcomed to take photographs of the performance. Those who are interested in opera makeup may come at 6:30 pm to see the artists doing their own makeup at the opera stage and take pictures of them. And those who want to take pictures with the performers or talk to them are most welcomed to do so after the performance at 8:30 pm. Our performers are effectively bilingual: they speak good English and Mandarin and they have been with the Chinese Theatre Circle to almost half the world. With subtitles on both sides of the stage, English on your right and Chinese on your left, we believe you should be able to enjoy the show.

    And now, ladies and gentlemen, please put your hands together to welcome our two young artists this evening from the Chinese Theatre Circle."

    The concept of traditional Chinese street opera

    The speech outlined above constructs a speCific notion of traditional

  • 52

    Chinese street opera in Singapore. Through the use of past tense, the speech proclaims Chinese street opera as a phenomenon of the past, implying that it no longer exists in contemporary Singapore. It then localizes Chinese street opera within the history of Clarke Quay and introduces CTC as "Singapore's premier Cantonese opera group, a professional arts company," one that boasts numerous performances worldwide, won many awards, and organizes the annual Chinese Opera Festival to "preserve and promote" Chinese opera.

    In this way, the speech implies that CTC is the only opera group that performs Chinese street opera in Singapore today. More importantly, Chinese street opera is now being revived and nurtured as an art form by a group that has achieved honours both locally and in many foreign countries, supported by tourist and cultural institutions.

    Indeed, the speech addresses the audience directly and positions the whole event as a tourist attraction, or rather, as a conspicuous consumption of nostalgia and exoticism. The audience is invited to take photographs of the performance, observe opera make-up and converse with the performers who are characterized as young and bilingual, proficient in both English and Mandarin. As a validation of their artistry, the speech asserts the worldwide performance experience of CTC's performers.

    Politics of representing Chinese street opera

    Note that no reference is made to the daily street performances by wayang troupes. To reiterate, in Singapore today, Chinese street opera performances is performed twice a day, for 20-25 days a month in religious contexts, a social phenomenon that has continued since the early days of the Chinese immigrants. And very often, several wayang troupes perform in different venues at the same time. By excluding references to wayang troupes and their performances, the performance event by CTC at Clarke Quay attempts to construct and define a new and holistic concept of traditional Chinese street opera in modern Singapore. Significantly, CTC's concept of Chinese street opera acquires authenticity through its performance process.

    First, the performance is authentic in its use of conventional instruments and costumes, among other material references. Second, the event is verbally constructed as an authentic representation of Chinese street opera by references to traditional operatic practices. Third, the event attempts to demystify Chinese street opera by merging the performance with the mainly young and foreign crowd through the use of English translation, English introduction, make-up demonstrations and photo-taking sessions.

  • Cultural Nationalism and the Values of Authenticity 53

    Fourth, the event rationalizes its discourse on traditional Chinese street opera in Singapore in the form of an evolution. It suggests that while traditional street opera used to be a communal, festive event, especially during religious occasions, it is now preserved, promoted, and "developed" as an art form practised by a professional company. Traditional Chinese street opera in Singapore has thus become an object of artistic pursuit, exclusive to an elite community of educated and widely travelled practitioners. In other words, through the production of the event they call "Traditional Chinese Street Opera," CTC not only constructs new meanings for Chinese street opera, but also assert its social status, knowledge and power to appropriate and re-signify a tradition that is generally recognized as the domain of a different social community.

    History, locality and heritage

    Located in Clarke Quay, with its history, spatial organisation and ambience that aim to represent the traditional and modern facets of Singapore, CTC's performance is compelling as it reflects and contributes to the emergent meanings of the locale through its emphasis on traditional concern, artistic achievement, and its pursuit of local and international fame. Yet, for both tourists and local Singaporeans, it is not difficult to realise that the entire social space in Clarke Quay is an invented tradition. Viewed in this way then, how does CTC's performance achieve "mimetic credibility" (Edward Bruner 1994: 399) and remain convincing as an "authentic" practice? I suggest that the most significant process through which CTC acquires authenticity is the strategic positioning of its ideology within the context of cultural construction in Singapore, especially since the mid-1980s.3

    Briefly, the cultural ideology in Singapore during this period equated the concept of culture to artistic practices that encouraged creativity, imparted a sense of local history and identity, celebrated multiculturalism, and most importantly, generated an overarching concept of "being Singaporean." Significantly, this cultural ideology assumed the availability of a steady economy, high educational levels and political stability. In this context, social practices that engaged in a discourse on "culture" were admitted into the art-culture system (to borrow James Clifford's term) and assigned a positive social value, the performance of Chinese street opera by amateur

    3Por studies on the construction of culture and identity in Singapore, see Chua and Kuo (1995) and Koh (1989).

  • 54

    opera groups being a case in point. While the performance of Chinese street opera by wayang troupes fulfill a customary and somewhat mundane function, Chinese street opera performed by amateur groups and CTC are "cultural" in the current social framework. Insofar as cultural practices are highly valued in contemporary Singapore, CTC's performance is genuine because its ideology coincides with that of the state. Correspondingly, wayang troupes are devalued because they do not espouse a similar ideology.

    The social status of CTC and its ideological alliance with the state render its performance credible. More importantly, however, for CTC and amateur opera groups, the assertion of authenticity is important for ensuring their social positions as cultural advocates within the art-culture system. After all, I have not come across any Chinese wayang performers discuss the issue of authenticity in their operatic practice. Viewed in this way then, the quest for authenticity differentiates one group from another and generates social distinction. The concept of authenticity enhances the social value of "cultural" Chinese street opera - it invents its own sense of historical significance and contemporary relevance to the state's aspiration of a Singaporean cultural identity. To put it another way, authenticity is iconic of the cultural imagery that Singapore aspires to achieve, a context that is artistically vibrant, historically rooted, yet globally oriented. This cultural ideology is socially powerful and effective because it does not refer to any specific ethnic community, but points towards an ideal and totalising concept of "being Singaporean."

    The State's concern for promoting local history and preserving tradition in a rapidly globalizing context cannot simply be understood using a "East meets West" framework. This case study reveals multiple tensions in the process of constructing a national identity for Singapore, capitalizing on its multicultural population, its alliance with Asian processes and its own history, both Western and Asian, all contextualized within its current political arena. Culture is defined less in terms of what is being performed but on how it is performed, and the resulting experience of the cultural virtues constructed in the process. Music performance is a means to generate such an experience of culture and the concept of authenticity is an ideal virtue.

    History, state authority and tourism are important mechanisms that interact with the practice of authenticity in cultural performance, a practice that embodies both nostalgia and novelty. Performances such as the Traditional Chinese Street Opera event by the Chinese Theatre Circle predicate on the history of Chinese street opera by wayang troupes to re-

  • Cultural Nationalism and the Values of Authenticity 55

    inscribe the tradition and constructs its authenticity by locating its performance ideology within contemporary cultural discourses in Singapore. Thus, the concept of authenticity is always socially constituted and functions as a form of cultural capital for the exertion of self-description and social status.

    References

    Bruner, Edward M. 1994 "Abraham Lincoln as Authentic Reproduction: A Critique of

    Postmodemism," American Anthropologist 92(2): 397-415. Chua, Beng Huat and Eddie c.y. Kuo

    1995 "The Making of a New Nation: Cultural Construction and National Identity." In Communitarian Ideology and Democracy in Singapore by Chua Beng Huat, 101-23. London and New York: Routledge.

    Clifford, James 1988 "On Collecting Art and Culture." In The Predicament of Culture: Twentieth-

    Century Ethnography, Literature, and Art, 215-52. Cambridge, Massachusetts: Harvard University Press.

    Koh, TaiAnn 1989 "Culture and the Arts." In Management of Success: The Moulding of Modern

    Singapore, edited by Kemial Singh Sandhu and Paul Wheatley, 710-48. Singapore: Institute of Southeast Asian Studies.

  • ์…” ํ˜ผ

    ์œคํ™”๋ฏผ์กฑ์ฅฌ์˜์™€๏ผŒ ์›์  ์„ฑ(ๅŽŸๅ…ธiๆ€ง)์˜ ๊นŒ์น˜ ์„ฑ๊นŒํ‘œ๋ฅด์˜ ์ค‘๊ตญ์ ธ๋ฆฌ์˜ฅ

    ๋ฆฌ ๋™์ˆœ(๏งกๅฟ ้ †ยท ์˜๊ตญ๋”๋žญ๋Œ€ํ•™)

    ์œค์˜ํ•ด ์˜ฎ๊น€(์„œ์šธ๋Œ€ ์„์‚ฌ๊ณผ์ •)

    0 ์˜ค๋Š˜๋‚  ์‹ฑ๊ฐ€ํฌ๋ฅด์—์„œ ๋ฌธํ™” ๊ฐœ๋…์— ๋Œ€ํ•œ ๋‹ด๋ก ์šด ์ข…์ข… ๋Œ€ํ‘œ์„ฑ๊ณผ๏ผŒ ๊ทธ์— ๋”ฐ๋ฅธ ์›

    n ์ „์„ฑ (ๅŽŸๅ…ธๆ€ง. authenticity)์ด๋ผ๋Š” ๋ฌธ์ œ๋ฅผ ์•ผ๊ธฐํ•œ๋‹ค. ์ค‘๊ตญ์–ธ์ด ์ธ๊ตฌ์˜ ๋Œ€๋ถ€๋ถ„ ์„ ์ฐจ์ง€ํ•˜๋Š” ์‹ฑ๊ฐ€ํฌ๋ฅด๋Š” ๋ง๋ ˆ์ด์–ด๋ฅผ ๊ตญ์–ด๋กœ๏ผŒ ์˜์–ด๋ฅผ ์ œ1๊ณต์šฉ์–ด๋กœ ์ธ์ •ํ•˜๋Š” ๋น„์ข…๊ต

    ๊ตญ๊ฐ€์ด๋ฉฐ , ํ—Œ๋ฒ•์€ ์ค‘๊ตญ ยท ๋ง๋ ˆ์ด ยท ๋‚จ์•„์‹œ์•„ ยท ์œ ๋ผ์‹œ์•„ ์‚ฌํšŒ๋กค 4๋Œ€ ๋ฏผ์กฑ์œผ๋กœ ๊ทœ์ •

    ํ•˜๊ณ  ์žˆ๋‹ค. ๋‹ค์›์ฃผ์˜ ์‚ฌํšŒ์—์„œ ๋ฌธํ™”์  ๋Œ€ํ‘œ์„ฑ์˜ ์ •์น˜ํ•™์€ ๋น„๊ต์  ์ตœ๊ทผ์ธ 1965๋…„

    ๊ตญ๊ฐ€๊ฐ€ ๋…๋ฆฝํ•จ์œผ๋กœ์จ ํ•œ์ด ๋ณต์žกํ•ด์กŒ๋‹ค. ๋…๋ฆฝ ํ›„ ์ฒ˜์Œ 20๋…„ ๋™์•ˆ ๋ฌธํ™”์  ๋‹ด๋ก ์€ ์ฃผ

    ๋กœ ์‹ฑ๊ฐ€ํฌ๋ฅด์˜ ๋‹ค๋ฏผ์กฑ์  ์ •์ฒด์„ฑ ํš๋“์„ ๊ฒจ๋ƒฅํ•ด๏ผŒ ์‚ฌ์ ์ธ ๊ธฐ๋…ํ–‰์‚ฌ๋‚˜ ๊ฐœ๊ฐœ ๋ฏผ์กฑ์ง‘๋‹จ

    ์˜ ๋ฌด์šฉ๏ผŒ ์ข…๊ต์˜์‹๏ผŒ ์Œ์‹๏ผŒ ๊ฑด์ถ•๏ผŒ ์Œ์•… ๊ธฐํƒ€ ๊ด€์ˆจ์˜ ๊ณต๊ณต ์—ฐํ–‰์ด๋‚˜ ์ „์‹œ๋ฅผ ํ†ตํ•ด ์ด๋ฃจ

    ์–ด์กŒ๋‹ค. 1980๋…„๋Œ€ ์ค‘๋ฐ˜๋ถ€ํ„ฐ , ์ œ๊ฐ๊ฐ์ธ ๋ฏผ์กฑ๋‹จ์œ„ ํ™œ๋™์„ ์ดˆ์›”ํ•˜๋Š” ํฌ๊ด„์  ์ธ ์‹ฑ๊ฐ€ํฌ

    ๋ฅด์ฒ™ ๋ฌธํ™” ์—ํ† ์Šค๋ฅผ ๊ฟˆ๊พธ๋Š” ๊ตญ๊ฐ€์ฒ™ ๋ฌธํ™”๊ฐœ๋…์ด ๋ˆˆ์— ๋„๊ฒŒ ๊ฐ•์กฐ๋˜์–ด๏ผŒ ์Œ์•…๊ณต์—ฐ ๊ธฐ

    ํƒ€ ํ˜•ํƒœ์˜ ์‚ฌํšŒ์ฒ™ ๊ด€ํ–‰์œผ๋กœ ํ‘œ์ถœ๋˜๊ธฐ ์‹œ์ž‘ํ–ˆ๋‹ค. ์ด ๊ธ€์—์„œ๋Š” ํŠน์ • ๊ณต์—ฐ ์ด๋ฒคํŠธ์—

    ์ดˆ์ ์„ ๋งž์ถ”์–ด๏ผŒ ๊ทธ๊ฒƒ์ด ์ง€์—ญ์„ฑ๊ณผ ์—ญ์‚ฌ์™€ ๋ฌธํ™”์ •์น˜ํ•™์˜ฌ ์ „์œ (ๅฐˆๆœ‰)ํ•˜์—ฌ ํ˜„๋Œ€ ์‹ฑ๊ฐ€

    ํฌ๋ฅด ๋ฌธํ™”์˜ ์ƒˆ๋กœ์šฐ๋ฉด์„œ๋„ โ€˜์›์ „์ฒ™์ธโ€™ ์˜๋ฏธ์™€ ๊ฐ€์น˜๋ฅผ ๊ตฌ์ถ•ํ•˜๋Š” ๋ชจ์Šต์˜ฌ ์‚ดํ”ผ๊ธฐ๋กœ

    ํ•œ๋‹ค

    ์‹ฑ๊ฐ€ํฌ๋ฅด์˜ ์ค‘๊ตญ๊ฑฐ๋ฆฌ๊ทน

    ์ค‘๊ตญ ๊ฑฐ๋ฆฌ๊ทนใ€”่ก—ๆˆฐใ€•์€ ๊ฑฐ๋ฆฌ๋‚˜ ์•ผ์™ธ์— ๋งŒ๋“ค์–ด์ง„ ์ด๋™์‹ ๋ฌด๋Œ€์—์„œ ํ–‰ํ•ด์ง€๋Š” ์ค‘๊ตญ๊ทน

    1์ด ๊ธ€์€ 1999๋…„ 11์›” 18-21์ผ ํ…์‚ฌ์Šค ์˜ค์Šคํ‹ด์—์„œ ์˜๋ฆฐ ๋ฏธ๊ตญ ๋ฏผ์กฑ์Œ์•…ํ•™ํšŒ ํ•™์ˆ ํšŒ์˜์—์„œ ๋ฐœํ‘œํ•œ ๊ธ€์˜ฌ ๋‹ค๋“ญ์€ ๊ฒƒ์ด๋‹คโ€˜ ์—ฐ๊ตฌ์˜ ๋งค ๋‹จ๊ณ„๋งˆ๋‹ค ์กฐ์–ธ์„ ์•„๋ผ์ง€ ์•Š์œค ๋ฅด๋„ค T.A. ๋ผ์ด์Šฌ๋กœํ”„๏ผŒ ์•จ ์˜๏ผŒ ์œต ์‹ธ์ด์„ฑ์—๊ฒŒ ๊ฐ์‚ฌํ•œ๋‹ค

  • ๋ฌธํ™”๋ฏผ์กฑ์ฃผ์˜์™€๏ผŒ ์›์ „์„ฑ(ๅŽŸๅ…ธๆ€ง)์˜ ๊ฐ€์น˜ 57

    ์„ ๋งํ•œ๋‹ค. ํ˜ผํžˆ ์ค‘๊ตญ์–ด๋กœ โ€˜์™€์–‘(wayang)โ€™ ์ด๋ผ๊ณ  ๋ถˆ๋ฆฌ๋Š” ๊ฑฐ๋ฆฌ๊ทน ๊ณต์—ฐ์˜ ๋งฅ๋ฝ์€

    ์—ญ์‚ฌ์ ์œผ๋กœ ์ง์—…์  ๊ทน๋‹จ๊ณผ๋งŒ ๊ด€๋ จ์ด ์žˆ๋‹ค. ์ง์—…๊ทน๋‹จ(์ดํ•˜๏ผŒ โ€˜์™€์–‘๊ทน๋‹จโ€™ )์€ ์ฃผ๊ฑฐ์ง€

    ์—ญ ๋‚ด์—์„œ ์ข…๊ตํ™œ๋™์˜ ๋ถ€๋Œ€ํ–‰์‚ฌ๋กœ ๊ฑฐ๋ฆฌ๊ทน์˜ฌ ์—ฐํ–‰ํ•˜๋Š” ์˜๋ฆฌ์ง‘๋‹จ์ด๋‹ค. ๊ตฌ์„ฑ์›๋“ค์€

    ์ผ๋ฐ˜์œผ๋กœ ๋…ธ๋™๊ณ„๊ธ‰์— ์†ํ•˜๊ณ . (๊ณต์‹์ฒ™ ์˜๋ฏธ์—์„œ) ๊ณ ํ•™๋ ฅ์ด ์•„๋‹ˆ๋ฉฐ๏ผŒ ์„ญ๋Œ€ ์‹œ์ฒ ๋ถ€ํ„ฐ

    ์ค‘๊ตญ๊ทน ์—ฐํ–‰ ํ›ˆ๋ จ์„ ๋ฐ›์•˜๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ 1970๋…„๋Œ€๋ถ€ํ„ฐ ์•„๋งˆ์ถ”์–ด ๊ทน๋‹จ์ด ์ค‘๊ตญ ๊ฑฐ๋ฆฌ๊ทน์„

    ๊ตญ๊ฐ€ ํ–‰์‚ฌ๋‚˜ ์ƒ์—…์ค‘์‹ฌ์ง€๏ผŒ ์‡ผํ•‘ ๋ฐ ๊ด€๊ด‘๊ตฌ์—ญ์—์„œ ๋ฒŒ์–ด์ง€๋Š” ์ถ•์ œ์—์„œ ์ •๊ธฐ์ฒ™์œผ๋กœ ๊ณต

    ์—ฐํ•˜๊ธฐ ์‹œ์ž‘ํ–ˆ๋‹ค. ๋”์šฑ ์ค‘์š”ํ•œ ๊ฒƒ์€๏ผŒ ๊ทธ๋“ค์˜ ๊ณต์—ฐ์ด ์‹ฑ๊ฐ€ํฌ๋ฅด์˜ ๋ฌธํ™” ์ •์ฒด์„ฑ ๊ตฌ์ถ•

    ๊ณผ์ •์˜ ์–ผํ™˜์œผ๋กœ ์ „์Šน์˜ ๋ณด์กด๏ผŒ ๋ฌธํ™” ํ•จ์–‘๏ผŒ ์ง€์—ญ ์—ญ์‚ฌ ๊ต์œก ๋“ฑ์˜ ๋‹ด๋ก  ์•ˆ์— ์ž๋ฆฌ์žก

    ๊ฒŒ ๋œ ์‚ฌ์‹ค์ด๋‹ค. ์™€์–‘๊ทน๋‹จ ๊ตฌ์„ฑ์›๋“ค๊ณผ ๋‹ฌ๋ฆฌ ์•„๋งˆ์ถ”์–ด ์—ฐ๊ธฐ์ž๋“ค์€ ํ˜ผํžˆ ์ค‘์‚ฐ์ด ์ด

    ์ƒ์„ ๊ตฌ์„ฑํ•œ๋‹ค. ๊ทธ๋“ค์€ ๋Œ€๊ฐœ ๊ต์œก์„ ๋ฐ›์•˜๊ณ ๏ผŒ ์ง์—…์ด ์žˆ๊ณ ๏ผŒ ๋ ˆ์ €์˜ ์ผํ™˜์œผ๋กœ ์ค‘๊ตญ๊ทน

    ์˜ฌ ์—ฐ์Šตํ•˜๋ฉด์„œ๏ผŒ ๋Œ€๊ฐœ ์‹ค๋‚ด๊ทน์žฅ์—์„œ ์ด๋”ฐ๊ธˆ ๊ณต์—ฐ์„ ๋ฒ ํ‘ผ๋‹ค. โ€˜์ง์—…์ โ€™ ์ด๋‹ˆ โ€˜์•„๋งˆ์ถ”

    ์–ดโ€™ ๋‹ˆ ํ•˜๋Š” ๋ง์€ ๋‘ ์—ฐํ–‰์ง‘๋‹จ์˜ ์ฐจ์ด๋ฅผ ๋งํ•˜๋Š” ๊ฒƒ์ด์ง€ , ๋ฐ˜๋“œ์‹œ ๊ธฐ์ˆ ์ด๋‚˜ ๊ณต์—ฐ ์ˆ˜์ค€

    ์˜ ์šฐ์—ด์„ ์•”์‹œํ•˜๋Š” ๊ฒƒ์€ ์•„๋‹ˆ๋ผ๋Š” ์ ์„ ์—ผ๋‘์— ๋‘์–ด์•ผ๊ฒ ๋‹ค.

    ์ค‘๊ตญ๊ทนํšŒ

    ์ด ๊ธ€์—์„œ ๋‹ค๋ฃจ๋Š” ๊ฒƒ์€ ์ค‘๊ตญ๊ทนํšŒ (Chinese Theater Circle)์— ์˜ํ•ด ๊ณต์—ฐ๋˜๋Š” ใ€ˆ์ „

    ํ†ต- ์ค‘๊ตญ ๊ฑฐ๋ฆฌ๊ทนใ€‰์ด๋ผ๋Š” ์ด๋ฒคํŠธ๋กœ. 1996๋…„ 8์›”๋ถ€ํ„ฐ ๋งค์ฃผ ์ˆ˜์š”์ผ๊ณผ ๊ธˆ์š”์ผ์— ํด๋ผํฌ

    ์ฝฐ์ด์—์„œ ๊ณต์—ฐ๋˜๋ฉฐ ์‹ฑ๊ฐ€ํฌ๋ฅด ๊ด€๊ด‘์ฒญ๊ณผ ํด๋ผํฌ ์ฝฐ์ด ๊ด€๋ฆฌ์†Œ์˜ ์ง€์›์„ ๋ฐ›๋Š” ๋ฌธํ™”์ 

    ํ–‰์‚ฌ์ด๋‹ค 2

    1981๋…„์— ์•„๋งˆ์ถ”์–ด ๊ทน๋‹จ์œผ๋กœ ๊ฒฐ์„ฑ๋˜๊ณ  1995๋…„ ๋น„์˜๋ฆฌ ์ง์—…์˜ˆ์ˆ ๋‹จ์œผ๋กœ ๋ฒ•์ธ๋“ฑ๋ก

    ํ•œ ์ค‘๊ตญ๊ทน๋‹จ์€ ์ง€์—ญ์‚ฌํšŒ ๋‚ด ํด๋Ÿฝ๊ณผ ์‹ค๋‚ด๊ทน์žฅ๏ผŒ ํ•ด์™ธ์—์„œ ์ •๊ธฐ์ฒ™์œผ๋กœ ๊ณต์—ฐํ•˜๋ฉฐ๏ผŒ

    1992๋…„์— ์‹œ์ž‘๋œ ์ค‘๊ตญ๊ทน ํŽ˜์Šคํ‹ฐ๋ฒŒ์„ ๋งค๋…„ ์ฃผ์ตœํ•˜๋Š” ํ•œ๋ณ€ ์‹ฑ๊ฐ€ํฌ๋ฅด ์˜ˆ์ˆ ์›์˜ ์˜ˆ์ˆ 

    ๊ต์œก๊ณผ์ •์—์„œ ์ค‘๊ตญ๊ทน ์›Œํฌ์‚ผ์„ ๋‹ด๋‹นํ•˜๊ณ  ์žˆ๋‹ค. ์ฐฝ๋ฆฝ๋ฉค๋ฒ„ ์ค‘ ์กฐ์• ๋‚˜ ํ–‰๊ณผ ์ œ์ž์ธ

    ๋Ÿฌ์šฐ ๋ฏธ์™€๏ผŒ ๋‘ ์‚ฌ๋žŒ์€ ์‹ฑ๊ฐ€ํฌ๋ฅด์—์„œ ์˜ˆ์ˆ ๊ณผ ํ‘ผํ™” ๋ถ„์•ผ์— ํฐ ๊ณตํ—Œ์„ ํ•œ ์‚ฌ๋žŒ์—๊ฒŒ ์ˆ˜

    ์—ฌํ•˜๋Š” ์ตœ๊ณ  ์˜์˜ˆ์˜ ๋ฌธํ™”ํ›ˆ์žฅ์„ 1981๋…„๊ณผ 1997๋…„ ๊ฐ๊ฐ ๋ฐ›์•˜๋‹ค. ๋” ์ค‘์š”ํ•œ ๊ฒƒ์€ ์ค‘

    ๊ตญ๊ทนํšŒ๊ฐ€๏ผŒ ์ค‘๊ตญ๊ทน์„ ๊ตญ๋‚ด์™ธ์—์„œ ๋ถ€ํ™์‹œํ‚จ ์„ฑ๊ณผ์™€ ๊ทธ ๊ณผ์ •์—์„œ ์‹ฑ๊ฐ€ํฌ๋ฅด๋ฅผ ๋น›๋‚ธ ๊ฒƒ

    ์„ ์ธ์ •๋ฐ›์•„ 1997๋…„ โ€˜์ž๋ž‘์Šค๋Ÿฌ์šด ์‹ฑ๊ฐ€ํฌ๋ฅด์ธโ€™ ์ƒ์„ ๋ฐ›์€ ์ ์ด๋‹ค.

    ์ค‘๊ตญ๊ทนํšŒ๋Š” ํ˜„์žฌ ํšŒ์žฅ๏ผŒ ์ง€๋„์œ„์›๏ผŒ ์˜ˆ์ˆ ๊ฐ๋…. ์—ฐ๊ธฐ์žํ”Œ๊ณผ ์Œ์•…๊ฐ€ ๋“ฑ ๋ช‡ ๋ช…์˜ ์ƒ๊ทผ

    ์ง‘ํ–‰๋ถ€๋ฅผ ๋‘” ์ง์—…์˜ˆ์ˆ ๋‹จ์„ ํ‘œ๋ฐฉํ•œ๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ๊ณต์—ฐ์˜ ์ด๋ฐ์˜ฌ๋กœ๊ธฐ๏ผŒ ์‚ฌํšŒ์  ์ธ์‹โ€˜ ๋งฅ

    ๋ฝ๏ผŒ ๊ธฐ๋Šฅ๊ณผ ๊ณ ๊ฐ ๋“ฑ ๋ณ€์—์„œ ์ค‘๊ตญ๊ทนํšŒ๋Š” ์™€์–‘๊ทน๋‹จ๊ณผ ๋‹ค๋ฅด๋‹ค. ์ด ๊ธ€์˜ ๋…ผ์˜์™€ ๊ด€๋ จํ•ด

    ๊ฐ€์žฅ ์ค‘์š”ํ•œ ์ฐจ์ด์ ์€ ๊ณต์—ฐ ์ด๋ฐ์˜ฌ๋กœ๊ธฐ์ด๋‹ค ๋‘ ์นฉ๋‹จ ๋ชจ๋‘ ์ค‘๊ตญ๊ทน ๊ณต์—ฐ์ด ๋ณธ์—ฝ์ด

    ๋‚˜๏ผŒ ์ค‘๊ตญ๊ทนํšŒ๋Š” ์ค‘๊ตญ๊ทน์„ ๋ฌธํ™”์  ยท ์˜ˆ์ˆ ์  ํ™œ๋™์œผ๋กœ ํ‘œ๋ฐฉํ•˜๊ณ  ๊ทธ๋Ÿฌํ•œ ๋…ธ๋ ฅ์„ ๊ณต๊ณต

    2์ด ๊ณต์—ฐ ์ด๋ฒคํŠธ๋Š” 1999๋…„๋ง ์ค‘๋‹จ๋์ง€๋งŒ๏ผŒ ์ด ์ด๋ฒคํŠธ๊ฐ€ ๊ตฌ์ถ•ํ•œ ๋‹ต๋ก ์€ ์‹ฑ๊ฐ€ํฌ๋ฅด ๋‚ด ์ค‘๊ตญ๊ทน ํšŒ๋ฅผ ๋น„๋กฏํ•œ ์•„๋งˆ์ถ”์–ด ์ค‘๊ตญ๊ทน๋‹จ๋“ค์˜ ์ง€์†์ฒ™์ธ ํ™œ๋™๋“ค์— ์—ฌ์ „ํžˆ ์ ์šฉํŽ€๋‹ค.

  • 58

    ์—ฐํžˆ ์ธ์ •๋ฐ›๊ณ  ์žˆ๋Š” ๋ฐ˜๋ฉด ์™€์–‘๊ทน๋‹จ์€ ํ˜„์žฌ ์‹ฑ๊ฐ€ํฌ๋ฅด์—์„œ ์—„๊ฒฉํžˆ ๊ด€์Šต์ฒ™์ด๊ณ  ์ข…๊ต

    ์ ์ธ ๊ธฐ๋Šฅ๋งŒ์„ ์œ„ํ•ด ์ค‘๊ตญ๊ทน์„ ๊ณต์—ฐํ•œ๋‹ค. ์ค‘๊ตญ๊ทนํšŒ์™€ ์™€์–‘๊ทน๋‹จ์ด ๋ชจ๋‘ ์ค‘๊ตญ ๊ฑฐ๋ฆฌ๊ทน

    ์„ ๊ณต์—ฐํ•˜๋Š” ํ•œ๏ผŒ ์ด๋“ค์˜ ์ด๋ฐ์˜ฌ๋กœ๊ธฐ ์ฐจ์ด์—์„œ ๋น„๋กฏํ•œ ๊ดด๋ฆฌ ์†์—์„œ ๋Œ€ํ‘œ์„ฑ๊ณผ ์›์ „์„ฑ

    ์˜ ์ •์น˜ํ•™์ด ๋“ฑ์žฅํ•˜์—ฌ , ๊ทผ๋Œ€ ์‹ฑ๊ฐ€ํฌ๋ฅด์˜ ๋” ๋„“์€ ์‚ฌํšŒ์ฒ™ ์—ญ๋™์„ฑ๊ณผ ๋งž๋ฌผ๋ฆฌ๊ฒŒ ๋œ๋‹ค.

    ๋ฅ ๋ผํฌํ™”์ด

    ํด๋ผํฌ ์ฝฐ์ด๋Š” ์‹ฑ๊ฐ€ํฌ๋ฅด๊ฐ•์„ ๋”ฐ๋ผ ํŽผ์ณ์ ธ ์žˆ๋Š” ์œ ์„œ๊นŠ์€ ๊ณณ์œผ๋กœ๏ผŒ 19์„ธ๊ธฐ๋ถ€ํ„ฐ 20 ์„ธ๊ธฐ ์ค‘๋ฐ˜๊นŒ์ง€ ์Œ€๏ผŒ ๊ฐฑ๋น„์–ด๏ผŒ ํ›„์ถ”์˜ ์ˆ˜์ถœ์—…์ด ์ด๋ฃจ์–ด์ง„์ค‘์š”ํ•œ์žฅ์†Œ์ด๋ฉฐ๏ผŒ ์ธ๊ตฌ๋Œ€๋ถ€

    ๋ถ„์€ ์ฐจ์˜ค์ €์šฐ(ๆ‡ถๅทž)์™€ ํ‘ธ์  (็ฆๅปบ) ์ถœ์‹  ํ™”๊ต์ง‘๋‹จ์ด ์ฐจ์ง€ํ•œ๋‹ค. ํด๋ผํฌ ์ฝฐ์ด๋Š” ์—ญ

    ์‚ฌ์ ์œผ๋กœ ๊ฒฝ๊ทน ๊ณต์—ฐ๏ผŒ ํŠนํžˆ ์ฐจ์˜ค์ €์šฐ ๊ทน์Œ์•…๊ณผ ์„ค์ฐฝ์Œ์•… ๋“ฑ ๊ฑฐ๋ฆฌ์—ฐ์˜ˆ๊ฐ€ ์ด๋ฃจ์–ด์ง€๋Š”

    ์ค‘์š”ํ•œ ์žฅ์†Œ์˜€๋‹ค๏ผŒ ์˜ค๋Š˜๋‚  ์ด๊ณณ์€ ๋†€์ด๊ณต์›๏ผŒ ํšŒ์ „๋ชฉ๋งˆ๏ผŒ ํฐ ์ˆ˜๋ ˆ ๋ชจ์–‘์˜ ๊ธฐ๋…ํ’ˆ ๊ฐ€ํŒ

    ๋Œ€๏ผŒ ์™ธ๊ตญ์Œ์‹ ๋ฐ ํ† ์†์Œ์‹ ๊ฐ€ํŒ๋Œ€๏ผŒ ๋ธ”๋ฃจ์Šค ยท ์žฌ์ฆˆ ยท ๋ก์Œ์•…์„ ์—ฐ์ฃผํ•˜๋Š” ์ˆ ์ง‘๋“ค์€ ๋ฌผ

    ๋ก  ๋””์Šค์ฝ”ํ…๊ณผ ๊ด‘๋™(ๅปฃๆฑ) ๊ทน์Œ์•… ๋“ค์ด ์–ด์šธ๋ ค ์žˆ๋Š” ์œ ๋ช…ํ•œ ๊ด€๊ด‘์ง€์ด๋‹ค. ๊ฐ€์žฅ ์ค‘

    ์ ์„ ๋‘๋Š” ๊ฒƒ์€ 60๋…„๋Œ€ ์Šคํƒ€์ผ์˜ ์ด๋ฐœ์†Œ ๊ฒธ ์ˆ˜์„ ์†Œ๋ฅผ ์ง“๊ฑฐ๋‚˜๏ผŒ ์ „ํ†ต ์œท๋ฐฐ โ€˜ํ†ต์บ‰. ์„

    ๋ณธ๋œฌ ๋ ˆ์Šคํ† ๋ž‘์„ ์žฌ๊ฑด์ถ•ํ•˜๋Š” ๋“ฑ ๊ฑด์ถ•์˜ ์žฌํ˜„๊ณผ ํ˜„๋Œ€์ฒ™์ธ ๋งฅ๋ฝ์—์„œ ์—ญ์‚ฌ์  ๊ด€์Šต์˜

    ๋ชจ๋ฐฉ์„ ํ†ตํ•ด ์‹ฑ๊ฐ€ํฌ๋ฅด์˜ ์ „ํ†ต๊ณผ ์—ญ์‚ฌ๋ฅผ ๋“œ๋Ÿฌ๋‚ด๋Š” ๊ฒƒ์ด๋‹ค ์ด ๋ชฉ์ ์„ ์œ„ํ•ด ํด๋ผํฌ

    ์ฝฐ์ด๋Š” ๊ณ ์œ ์˜ ๊ฒƒ๊ณผ ์™ธ๋ž˜์˜ ๊ฒƒ ๊ณ ๊ธ‰๋ฌธํ™”์™€ ๋Œ€์ค‘๋ฌธํ™”๏ผŒ ๋‚ฏ์ต์€ ๊ฒƒ๊ณผ ์ด๊ตญ์ ์ธ ๊ฒƒ๏ผŒ

    ์ฒœํ†ต์ ์ธ ๊ฒƒ๊ณผ ํ˜„๋Œ€์ ์ธ ๊ฒƒ์„ ๋Œ์–ด์•ˆ๋Š” ์žฅ์†Œ๏ผŒ ์—ญ์‚ฌ์  ์ƒ์ƒ๋ ฅ๊ณผ ์‚ฌํšŒ์ฒ™ ์ •์„œ๏ผŒ ๋ฌธํ™”

    ์  ํ–ฅ์ˆ˜์™€ ํ˜„๋Œ€์  ์š•๊ตฌ๊ฐ€ ๊ณต์กดํ•˜ํ•˜๋Š” ์‚ฌํšŒ์ฒ™ ๊ณต๊ฐ„์ด ๋˜์—ˆ๋‹ค.

    ใ€ˆ์ „ํ™ ์ค‘๊ตญ ๊ฑฐ๋ฆฌ๊ทนใ€‰ ์ด๋ฒคํŠธ

    ์ค‘๊ตญ๊ทนํšŒ์˜ ํด๋ผํฌ ์ฝฐ์ด ์ฃผ์ค‘ ๊ณต์—ฐ์€ ์—ฌํ–‰์•ˆ๋‚ด์„œ์™€ ์‹ ๋ฌธ๊ธฐ์‚ฌ์—์„œ ์‹ฑ๊ฐ€ํฌ๋ฅด์—์„œ

    ํŽผ์ณ์ง€๋Š” ์ „ํ†ต์ฒ™์ด๊ณ  ํ›ค์ „์ ์ธโ€™ ์ค‘๊ตญ ๊ฑฐ๋ฆฌ๊ทน์ด๋ผ ์†Œ๊ฐœ๋œ๋‹ค. ์•„๋‹Œ๊ฒŒ์•„๋‹ˆ๋ผ ๊ณต์—ฐ์ค‘

    ์ฒญ์ค‘๋“ค์ด ์ฃผ๊ณ ๋ฐ›๋Š” ๋ง๋“ค๋„ ๋น„์Šทํ•œ ์ทจ์ง€์ด๋‹ค. ์—ญ์‚ฌ์ฒ™์œผ๋กœ ๊ฑฐ๋ฆฌ๊ทน ์ „ํ†ต ํ•˜๋ฉด ๋– ์˜ค๋ฅด

    ๊ณ  ์‹ฑ๊ฐ€ํฌ๋ฅด ์ „์—ญ์—์„œ ๋งค์ผ ๋ฐค ๊ฑฐ๋ฆฌ๊ทน์„ ๊ณต์—ฐํ•˜๋Š” ์™€์–‘๊ทน๋‹จ์ด 8~107~๋‚˜ ์žˆ๋Š”๋ฐ๏ผŒ

    ์™œ ํ•˜ํŽผ ์ค‘๊ตญ๊ทนํšŒ์˜ ๊ณต์—ฐ์ด ์ด ์ „ํ†ต์˜ ์›์ „์ฒ™ ์žฌํ˜„์œผํ˜น ๊ฐ„์ฃผ๋˜๋Š”๊ฐ€? ์•„๋ฌดํŠผ ๊ณต์—ฐ

    ์˜ ๋งฅ๋ฝ-๋ฌด๋Œ€ ๋ฐฐ์น˜๏ผŒ ๊ณต์—ฐ์˜ ๊ธธ์ด๏ผŒ ๊ธฐ๋Šฅ๏ผŒ ํ›„์›์ž์™€ ์ฒญ์ค‘-๋ณ€์—์„œ ์ค‘๊ตญ๊ทนํšŒ์˜ ๋Œ€ํ‘œ

    ์„ฑ์€ ํ˜„์žฌ์™€ ๊ณผ๊ฑฐ ์™€์–‘๊ทน๋‹จ์˜ ์ค‘๊ตญ ๊ฑฐ๋ฆฌ๊ทน ์‹ค์ œ์™€ ์—„์ฒญ๋‚˜๊ฒŒ ๋‹ค๋ฅด๋‹ค ๊ทธ๋Ÿฌ๋‚˜ ์ด ๋งฅ

    ๋ฝ์—์„œ ๋ฏผ์กฑ์ง€์˜ ์—ญํ• ์€ ์ค‘๊ตญ๊ทนํšŒ ๊ณต์—ฐ์˜ โ€˜๋น„(้ž)์›์ „์ฒ™โ€™ ์š”์†Œ๋ฅผ ๊นŒ๋ฐœ๋ฆฌ๊ฑฐ๋‚˜๏ผŒ ๋Œ€

    ์ค‘์— ๋Œ€ํ•œ ํ˜ธ์†Œ๋ ฅ์„ ํ‰ํ•˜ํ•˜๋ ค๋Š” ๊ฒƒ์ด ์•„๋‹ˆ๊ณ ๏ผŒ ์ค‘๊ตญ๊ทนํšŒ์˜ ๊ณต์—ฐ์ด ์™ธ-์–‘๊ทน๋‹จ์˜ ๊ฑฐ๋ฆฌ

    ๊ณต์—ฐ๋ณด๋‹ค ์–ด์ฉŒ๋ฉด โ€˜๋ ฌ ์›์ „์ โ€™ ์ด๋ผ๊ณ  ๋‹จ์ •ํ•˜๋ ค๋Š” ๊ฒƒ์€ ๋”๋”์šฑ ์•„๋‹ˆ๋‹ค. ์˜คํžˆ๋ ค ๋ถ„์„

    ์˜ ๊ณผ์—ฝ์€๏ผŒ ์ด ์ด๋ฒคํŠธ๊ฐ€ ์›์ „์„ฑ์„ ํš๋“ํ•˜๋Š” ๊ณผ์ •์„ ๋ฌ˜์‚ฌํ•˜๊ณ  ๊ทธ ๊ณผ์ •์—์„œ ๊ณต์—ฐ์„

    ํ†ตํ•ด ์ƒ์‚ฐ๋˜๋Š” ๋‹ค์–‘ํ•œ ์˜๋ฏธ๋“ค์„ ์‚ดํŽด๋Š” ์ผ์ด๋‹ค.

    ์ค‘๊ตญ๊ทนํšŒ ์ด๋ฒคํŠธ์˜ ๊ณต์—ฐ ๊ตฌ์กฐ๋Š” ์ „์ฃผ์Œ์•…๊ณผ ๊ทน ๋‚ด์šฉ์œต ์ œ์™ธํ•˜๊ณ ๋Š” ๋งค ๊ณต์—ฐ๋งˆ๋‹ค

  • ๋ฌธํ™”๋ฏผ์กฑ์ฃผ์˜์™€. ์›์ „์„ฑ(ๅŽŸๅ…ธๆ€ง)์˜ ๊ฐ€์น˜ 59

    ๋Œ€์ฒด๋กœ ๋ถˆ๋ณ€์ด๋‹ค. ๋ฌด๋Œ€๋Š” ๊ทธ๊ณณ์— ์˜๊ตฌ์ฒ™์œผ๋กœ ๊ณ ์ •๋˜์–ด ์žˆ๊ณ ๏ผŒ ์ „ํ˜•์ ์ธ ๊ณต์—ฐ์˜ ์ค€

    ๋น„๋Š” ์˜คํ›„ 5์‹œ 30๋ถ„ ๋ฌด๋Œ€ ๋ณด์กฐ์ž๊ฐ€ ๋‚˜ํƒ€๋‚˜ ์Œ์•…๊ฐ€๋“ค์ด ์•‰์„ ์˜์ž๋ฅผ ์ •๋ ฌํ•˜๊ณ  ๋ฌด๋Œ€

    ๋ฒ„ํŒ€๋ชฉ์„ ๊ฐ€์„คํ•˜๋ฉด์„œ ์‹œ์ž‘๋œ๋‹ค.6์‹œ 30๋ถ„์—๋Š” ์—ฌ์„ฑ ์—ฐ๊ธฐ์ž๋“ค์ด ๋„์ฐฉํ•ด ๋ฌด๋Œ€ ์•ž์—

    ์„œ ๋ถ„์žฅ์„ ํ•˜๋Š” ๊ณผ์ •์„ ๋Œ€์ค‘์—๊ฒŒ ๊ทธ๋Œ€๋กœ ๋ณด์—ฌ์ค€๋‹ค 6์‹œ 45๋ถ„์ข… ์Œ์•…๊ฐ€๋“ค์ด ๋„์ฐฉํ•ด

    ์•…๊ธฐ๋ฅผ ๋ฐฐ์น˜ํ•˜๊ณ  ์กฐ์œตํ•œ๋‹ค. ์•…๊ธฐ๋ฉด์„ฑ์€ ๊ด‘๋™๊ทน์˜ ํ‘œ์ค€ ์•™์ƒ๋ธ”์ด๋‹ค.7์‹œ 30๋ถ„์ด ๋˜

    ๋ฉด ๊ตฐ์ค‘์ด ์ œ๋ณ ๋ชจ์ด๊ธฐ ์‹œ์ž‘ํ•˜๊ณ  7์‹œ 45๋ถ„์— ์ „์ฃผ๊ณก์œผ~๋กœ ๊ณต์—ฐ์ด ์‹œ์ž‘ํ•˜๋ฉด ์ค‘๊ตญ๊ทน

    ํšŒ์˜ ๋Œ€ํ‘œ ๋ ˆ์Šฌ๋ฆฌ ํ–‰์˜ ์—ฐ์„ค์ด ์ด์–ด์ง„๋‹ค ์ด์–ด ๋‚จ๋…€ ์—ฐ๊ธฐ์ž๊ฐ€ ๋‚˜์™€ ๊ทน ๋‚ด์šฉ ์ค‘ 45

    ๋ถ„์น˜๋ฅผ ๋ฝ‘์•„ ๋ณด์—ฌ์ค€ ๋’ค๏ผŒ ์—ฐ๊ธฐ์ž๋“ค์ด ๋ฌด๋Œ€ ์•„๋ž˜๋กœ ๋‚ด๋ ค๊ฐ€ ์ฒญ์ค‘๊ณผ ์ด์•ผ๊ธฐ๋ฅผ ๋‚˜๋ˆ„๊ณ 

    ํ•จ๊ป˜ ์‚ฌ์ง„ ํฌ์ฆˆ๋ฅผ ์ทจํ•˜๊ธฐ๋„ ํ•œ๋‹ค. ์ด๋ฒคํŠธ ๊ณต์—ฐ์˜ ์—ฌ๋Ÿฌ ํŠน์ • ๊ฐ€์šด๋ฐ ์—ฐ์…œ์ด ๊ณต์—ฐ ์ด

    ๋ฒคํŠธ๋ฅผ ์œ„ํ•ด ํ‘œ์ถœ๋˜๋Š” ์ค‘๊ตญ๊ทนํšŒ์˜ ์ด๋ฐ์˜ฌ๋กœ๊ธฐ๋ฅผ ์ฐฐ ๋Œ€๋ณ€ํ•˜๋Š”๋ฐ๏ผŒ ์•„๋ž˜์˜ ์ธ์šฉ์€ ์ด

    ๋ฅผ๊ฐ„์ถ”๋ฆฐ๊ฒƒ์ด๋‹ค.

    โ€œ์‹ ์‚ฌ์ˆ™๋…€ ์—ฌ๋Ÿฌ๋ถ„. ์•ˆ๋…•ํ•˜์‹ญ๋‹ˆ๊นŒ ํด๋ผํฌ ์ฝฐ์ด ํŽ˜์Šคํ‹ฐ๋ฒŒ ๋นŒ๋ฆฌ์ง€์— ์˜ค์‹  ๊ฒƒ์œต ํ™˜์˜ํ•ฉ

    ๋‹ˆ๋‹ค. ์ค‘๊ตญ ๊ฑฐ๋ฆฌ๊ทน์€ ์‹ฑ๊ฐ€ํฌ๋ฅด ๊ด€๊ด‘๊ตญ์˜ ์ง€์›์œผ๋กœ ํด๋ผํฌ ์ฝฐ์ด ์‹ฑ๊ฐ€ํฌ๋ฅด์—์„œ ์ œ๊ณตํ•˜

    ๋ฉฐ๏ผŒ ์ค‘๊ตญ๊ทนํšŒ์— ์˜ํ•ด ๊ณต์—ฐ๋ฉ๋‹ˆ๋‹ค ์ค‘๊ตญ ๊ฑฐ๋ฆฌ๊ทน์€ ๊ณผ๊ฑฐ์— ๋งค์šฐ ์ธ๊ฐ€์žˆ๋Š” ๊ฑฐ๋ฆฌ ์—ฐ์˜ˆ์˜€์Šต

    ๋‹ˆ๋‹ค. ์˜›๋‚  ํด๋ผํฌ ์ฝฐ์ด์—์„œ , ํŠนํžˆ ์ข…๊ต์ถ•์ œ ๊ธฐ๊ฐ„ ๋™์•ˆ์—๋Š” ๋งค์šฐ ํ˜ผํ•œ ๊ด‘๊ฒฝ์ด์—ˆ์Šต๋‹ˆ๋‹ค .

    .. ๊ณผ๊ฑฐ์—๋Š” ๊ฐ€์กฑ ๋‹จ์œ„๋กœ ๊ฐ์ž ๋‚˜๋ฌด์˜์ž๋ฅผ ๋“ค๊ณ  ์™€ ์‡ผ๋ฅผ ๋ณด๋ ค๊ณ  ๋ฌด๋Œ€ ์•ž์— ๋ชจ์—ฌ๋“ค์—ˆ์Šต

    ๋‹ˆ๋‹ค. ์ฒญ์ค‘์€ ์—ฐ๊ธฐ์ž๋“ค์˜ ๊ณต๋“ค์ธ ํ™”์žฅ์„ ๋ณด๋Ÿฌ ๋ฌด๋Œ€ ๋’ค๋ฅ  ์—ฟ๋ณด๊ณค ํ–ˆ์Šต๋‹ˆ๋‹ค. ๋ฐฐ์šฐ์˜ ์–ผ๊ตด

    ์ƒ‰๊ณผ ์˜์ƒ์€ ์ €๋งˆ๋‹ค ๋‹ค๋ฅธ ์ธ๋ถˆ๊ณผ ์„ฑ๊ฒฉ์„ ์ƒ์ •ํ•ฉ๋‹ˆ๋‹ค.

    ์˜ค๋Š˜ ์ €๋… ๊ณต์—ฐ์€ ์‹ฑ๊ฐ€ํฌ๋ฅด ์ตœ๊ณ ์˜ ๊ด‘๋™๊ทน ๊ทธ๋ฃน์ธ ์ง์—…์˜ˆ์ˆ ๋‹จ๏ผŒ ์ค‘๊ตญ๊ทนํšŒ๊ฐ€ ์„ ์‚ฌํ•ฉ๋‹ˆ

    ๋‹ค. 1981๋…„ ์ฐฝ๋ฆฝํ•œ ์ค‘๊ตญ๊ทนํšŒ์˜ ๋ชฉ์ ์€ ์ค‘๊ตญ ๊ทน์Œ์•… ์—ฐ๊ทน๏ผŒ ๊ฐ€๋ฌด๋ฅผ ๋ณด์กด๏ผŒ ์ง„ํฅํ•˜๋Š” ์ผ์ž…

    ๋‹ˆ๋‹ค. ์ฐฝ๋ฆฝ ์ดํ›„ ์ค‘๊ตญ๊ทนํšŒ๋Š” ์‹ฑ๊ฐ€ํฌ๋ฅด์™€ ํ•ด์™ธ์—์„œ ]์ฒœ์—ฌ ํšŒ ๊ณต์—ฐ์„ ํ–ˆ์Šต๋‹ˆ๋‹ค. (๋‚˜๋ผ ์ด

    ๋ฆ„์„ ๋‚˜์—ดใ€• ๋“ฑ 5๊ฐœ ๋Œ€๋ฅ™ 15๊ฐœ๊ตญ์—์„œ ๊ณต์—ฐํ•œ๏ผŒ ์‹ฑ๊ฐ€ํฌํ๋ฅด์—์„œ ๊ฐ€์žฅ ๋งŽ์€ ์ˆœํšŒ๊ณต์—ฐ์„ ๊ฐ€์ง„

    ๊ทน๋‹จ์ž…๋‹ˆ๋‹ค. ์œ ๋ช…ํ•œ ์—๋”˜๋ฒ„๋Ÿฌ ํŽ˜์Šคํ‹ฐ๋ฒŒ์—๋„ ์ฐธ๊ฐ€ํ•œ ๋ฐ” ์žˆ๊ณ ๏ผŒ ์ตœ๊ทผ ์‹ฑ๊ฐ€ํฌ๋ฅด ์ •๋ถ€๋กœ๋ถ€

    ํ„ฐ ๋ฐ›์€ .์ž๋ž‘์Šค๋Ÿฌ์šด ์‹ฑ๊ฐ€ํฌ๋ฅด์ธ ์„ ํฌํ•จ๏ผŒ ์ˆ˜๋…„๊ฐ„ ๋งŽ์€ ์ƒ์„ ๋ฐ›์•˜์Šต๋‹ˆ๋‹ค. ์‹ฑ๊ฐ€ํฌ๋ฅด์—

    ์„œ ๋งค๋…„ 3์›” ์—ด๋ฆฌ๋Š” ์ค‘๊ตญ๊ทน ํŽ˜์Šคํ‹ฐ๋ฒŒ ๋˜ํ•œ ์ค‘๊ตญ๊ทนํšŒ๊ฐ€ ์กฐ์ง์„ ๋งก๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.

    ์œ ์„œ๊นŠ์€ ์ „ํ†ต์„ ์‚ด๋ ค๋‚˜๊ฐ€๋ ค๋Š” ๋…ธ๋ ฅ์˜ ์ผํ™˜์œผ~๋กœ ํด๋ผํฌ ์ฝฐ์ด์—์„œ๋Š” ๋งค์ฃผ ์ˆ˜์š”์ผ๊ณผ

    ๊ธˆ์š”์ผ ์˜คํ›„ 7์‹œ 45๋ถ„์— ์ด๊ณณ ๊ฐ€์Šค๋“ฑ ๊ด‘์žฅ์—์„œ ์ •๊ธฐ์ Pํ›„ ๊ณต์—ฐ์„ ๊ฐœ์ตœํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.

    ๊ณต์—ฐ์ค‘ ์‚ฌ์ง„ ์ฐ๋Š” ๊ฒƒ์˜ฌ ์ฃผ์ €ํ•˜์ง€ ๋งˆ์‹ญ์‹œ์˜ค. ๋ถ„์žฅ์— ๊ด€์‹ฌ์ด ์—ˆ์œผ์‹  ๋ถ„๋“ค์€ 6์‹œ 30๋ถ„์—

    ์˜ค์‹œ๋ฉด ์—ฐ๊ธฐ์ž๋“ค์ด ๋ฌด๋Œ€ ์œ„์—์„œ ํ™”์žฅํ•˜๋Š” ๋ชจ์Šต์„ ๋ณด์‹ค ์ˆ˜ ์žˆ๊ณ ๏ผŒ ํ•จ๊ป˜ ์‚ฌ์ง„๋„ ์ฐ์œผ์„ค ์ˆ˜

    ์žˆ์Šต๋‹ˆ๋‹คโ€˜ ์—ฐ๊ธฐ์ž๋“ค๊ณผ ์‚ฌ์ง„์„ ์ฐ๊ณ  ์‹ถ๊ฑฐ๋‚˜ ๋Œ€ํ™”๋ฅผ ๋‚˜๋ˆ„๊ณ  ์‹ถ์€ ๋ถ„์€ 8์‹œ 30๋ถ„ ๊ณต์—ฐ์ด

    ๋๋‚œ ํ›„๋ผ๋ฉด ์–ธ์ œ๋‚˜ ํ™˜์˜ํ•ฉ๋‹ˆ๋‹ค ์šฐ๋ฆฌ ์—ฐ๊ธฐ์ž๋“ค์€ ์ค‘๊ตญ๊ทนํšŒ์™€ ํ•จ๊ป˜ ๊ฑฐ์˜ ์„ธ๊ณ„์˜ ์ ˆ๋ฐ˜

    ์„ ์—ฌํ–‰ํ•˜์—ฌ ์˜์–ด์™€ ๋ณดํ†ตํ™”(ๆ™ฎ้€š่ฉฑ)๋ฅผ ์ž์œ ์ž์žฌ๋กœ ๊ตฌ์‚ฌํ•ฉ๋‹ˆ๋‹ค. ๋ฌด๋Œ€ ์–‘์ชฝ์— ๋งˆ๋ จ๋œ ์ž

    ๋ง‰์„ ๋ณด๋ฉด์„œ ์‡ผ๋ฅผ ์ฆ๊ธฐ์‹ค ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค ์˜ค๋ฅธ์ชฝ์€ ์˜์–ด. ์™ผ์ชฝ์€ ์ค‘๊ตญ์–ด์ž…๋‹ˆ๋‹ค.

    ์‹ ์‚ฌ์ˆ™๋…€ ์—ฌ๋Ÿฌ๋ถ„๏ผŒ ์˜ค๋Š˜๋ฐค ์ค‘๊ตญ๊ทนํšŒ์˜ ์ Š์€ ๋‘ ์˜ˆ์ˆ ๊ฐ€๋ฅผ ๋งž์ดํ•ด ์ฃผ์‹ญ์‹œ์˜ค

  • 60

    ์ฒœํ™ˆ์ค‘๊ตญ๊ฑฐ๋ฆฌ๊ทน์˜ ๊ฐœ๋…

    ์œ„์— ๊ฐ„์ถ”๋ จ ์—ฐ์„ค์€ ์‹ฑ๊ฐ€ํฌ๋ฅด ์ „ํ†ต ์ค‘๊ตญ ๊ฑฐ๋ฆฌ๊ทน์ด๋ผ๋Š” ๊ฐœ๋…์˜ฌ ๊ตฌ์ถ•ํ•œ๋‹ค ์—ฐ์„ค์€

    ๊ณผ๊ฑฐ์‹œ์ œ๋ฅผ ์‚ฌ์šฉํ•จ์œผ๋กœ์จ ์ค‘๊ตญ ๊ฑฐ๋ฆฌ๊ทน์„ ๊ณผ๊ฑฐ์˜ ํ˜„์ƒ์ด๋ผ๊ณ  ๊ทœ์ •ํ•˜์—ฌ๏ผŒ ํ˜„์žฌ ์‹ฑ๊ฐ€

    ํฌ๋ฅด์—๋Š” ๋” ์ด์ƒ ๊ทธ๊ฒƒ์ด ์กด์žฌํ•˜์ง€ ์•Š์Œ์„ ์‹œ์‚ฌํ•œ๋‹ค. ๊ทธ๋ฆฌ๊ณ  ๋‚˜์„œ ์ค‘๊ตญ ๊ฑฐ๋ฆฌ๊ทน์„

    ํด๋ผํฌ ์ฝฐ์ด์˜ ์—ญ์‚ฌ ์•ˆ์— ์ง€์—ญํ™”ํ•˜๊ณ . ์ค‘๊ตญ๊ทนํšŒ๋ฅผ ์„ธ๊ณ„ ๊ณณ๊ณณ์˜ ์ˆ˜๋งŽ์€ ๊ณต์—ฐ์„ ์ž

    ๋ž‘ํ•˜๊ณ  ์ˆ˜๋งŽ์€ ์ˆ˜์ƒ๊ฒฝ๋ ฅ์„ ๊ฐ–๊ณ  ์ค‘๊ตญ๊ทน์„ โ€œ๋ณด์กด๏ผŒ ์ง„ํฅ ํ•˜๊ธฐ ์œ„ํ•ด ์ค‘๊ตญ๊ทน ํŽ˜์Šคํ‹ฐ๋ฒŒ

    ์„ ๋งค๋…„ ์กฐ์งํ•˜๋Š” โ€œ์‹ฑ๊ฐ€ํฌ๋ฅด ์ตœ๊ณ ์˜ ๊ด‘๋™๊ทน๊ทธ๋ฃน โ€œ์ง์—…์˜ˆ์ˆ ๋‹จโ€์ด๋ผ๊ณ ์†Œ๊ฐœํ•œ๋‹ค.

    ์ด๋Ÿฌํ•œ ๋ฐฉ์‹์œผ๋กœ ์—ฐ์„ค์€ ์ค‘๊ตญ๊ทนํšŒ๊ฐ€ ํ˜„์žฌ ์‹ฑ๊ฐ€ํฌ๋ฅด์—์„œ ์ค‘๊ตญ ๊ฑฐ๋ฆฌ๊ทน์„ ๊ณต์—ฐํ•˜๋Š”

    ์œ ์ผํ•œ ๊ทน๋‹จ์ž„์„ ์‹œ์‚ฌํ•œ๋‹ค. ๋” ์ค‘์š”ํ•œ ๊ฒƒ์€๏ผŒ ์ค‘๊ตญ ๊ฑฐ๋ฆฌ๊ทน์ด ์ด์ œ ๊ตญ๋‚ด ๋ฐ ํ•ด์™ธ ์—ฌ

    ๋Ÿฌ ๋‚˜๋ผ์—์„œ ์˜์˜ˆ๋ฅผ ์–ป๊ณ  ์—ฌํ–‰ ๋ฐ ๋ฌธํ™” ๋‹น๊ตญ์˜ ์ง€์›์„ ๋ฐ›๋Š” ๋‹จ์ฒด์— ์˜ํ•ด ํ•˜๋‚˜์˜ ์˜ˆ

    ์ˆ ํ˜•์‹์œผ๋กœ ์žฌ์ƒ๋˜๊ณ  ๋ถ€์–‘๋˜๊ณ  ์žˆ๋‹ค๋Š” ์ ์ด๋‹ค-

    ์•„๋‹Œ๊ฒŒ์•„๋‹ˆ๋ผ ์—ฐ์„ค์€ ์ง์ ‘ ์ฒญ์ค‘์„ ํ–ฅํ•ด ๋งํ•˜๋ฉด์„œ ์ด๋ฒคํŠธ ์ „์ฒด๋ฅผ ์—ฌํ–‰์ž์˜ ๊ตฌ๊ฒฝ

    ๊ฑฐ๋ฆฌ๋‚˜ ๋…ธ์Šคํƒค์ง€์–ด์™€ ์ด๊ตญ์ทจํ–ฅ์˜ ํŠน๋ณ„ํ•œ ์†Œ๋น„๋ผ๊ณ  ๊ทœ์ •ํ•œ๋‹ค. ์ฒญ์ค‘์€ ๊ณต์—ฐ ์‚ฌ์ง„์„

    ์ฐ์„ ์ˆ˜๋„ ์žˆ๊ณ ๏ผŒ ๋ถ„์žฅ ๊ณผ์ •์„ ๋ณผ ์ˆ˜๋„ ์žˆ๊ณ ๏ผŒ ์ Š๊ณ  ์˜์–ด์™€ ๋ณดํ†ตํ™”๋ฅผ ๋‹ค ํ•  ์ˆ˜ ์žˆ๋‹ค๋Š”

    ์—ฐ๊ธฐ์ž๋“ค๊ณผ ๋Œ€ํ™”๋ฅผ ๋‚˜๋ˆŒ ์ˆ˜๋„ ์žˆ๋‹ค. ์˜ˆ์ˆ ์„ฑ์— ๋Œ€ํ•œ ๋ณด์ฆ์œผ๋กœ ์—ฐ์„ค์€ ์ค‘๊ตญ๊ทนํšŒ ์—ฐ

    ๊ธฐ์ž๋“ค์˜ ๊ด‘๋ฒ”์œ„ํ•œ ์„ธ๊ณ„๊ณต์—ฐ ๊ฒฝ๋ ฅ์„ ์—ญ์„คํ•œ๋‹ค-

    ์ค‘๊ตญ ๊ฑฐ๋ฆฌ๊ทน ๋Œ€ํ‘œ์ƒ์˜ ์ฒญ์น˜ํ•™

    ์—ฐ์…œ์€ ๋งค์ผ ํŽผ์ณ์ง€๋Š” ์™€์–‘๊ทน๋‹จ์˜ ๊ฑฐ๋ฆฌ๊ณต์—ฐ์— ๋Œ€ํ•ด์„œ๋Š” ์•„๋ฌด๋Ÿฐ ์–ธ๊ธ‰๋„ ํ•˜์ง€ ์•Š

    ๋Š”๋‹ค๋Š” ์ ์˜ฌ ์ฃผ๋ชฉํ•  ํ•„์š”๊ฐ€ ์žˆ๋‹ค. ๋‹ค์‹œ ๋งํ•˜๊ฑฐ๋‹ˆ์™€๏ผŒ ํ˜„์žฌ ์‹ฑ๊ฐ€ํฌ๋ฅด์—์„œ ์ค‘๊ตญ ๊ฑฐ๋ฆฌ

    ๊ทน ๊ณต์—ฐ์€ ํ•˜๋ฃจ์— ๋‘ ๋ฒˆ๏ผŒ ํ•œ ๋‹ฌ์— 20~25์ผ๊ฐ„ ์ข…๊ต์  ๋งฅ๋ฝ์—์„œ ๊ณต์—ฐ๋˜๋Š”๏ผŒ ์ค‘๊ตญ ์ด

    ๋ฏผ ์ดˆ์ฐฝ๊ธฐ ์ด๋ž˜ ๊ณ„์†๋ผ ์˜จ ์‚ฌํšŒ์  ํ˜„์ƒ์ด๋‹ค. ๋ช‡ ๊ฐœ ์™€์–‘๊ทน๋‹จ์ด ๋‹ค๋ฅธ ์žฅ์†Œ์—์„œ ๋™์‹œ

    ์— ๊ณต์—ฐํ•˜๋Š” ๋ชจ์Šต๋„ ์ฉ ์ž์ฃผ ๋ณผ ์ˆ˜ ์žˆ๋‹ค. ์™€์–‘๊ทน๋‹จ๊ณผ ๊ทธ๋œฐ ๊ณต์—ฐ์— ๋Œ€ํ•œ ์–ธ๊ธ‰์„ ์ œ

    ์™ธํ•จ์œผ๋กœ์จ ํด๋ผํฌ ์ฝฐ์ด์˜ ์ค‘๊ตญ๊ทนํšŒ ๊ณต์—ฐ ์ด๋ฒคํŠธ๋Š” ํ˜„๋Œ€ ์‹ฑ๊ฐ€ํฌ๋ฅด์—์„œ์˜ ์ „ํ†ต ์ค‘

    ๊ตญ ๊ฑฐ๋ฆฌ๊ทน ๊ณต์—ฐ์˜ ์ƒˆ๋กญ๊ณ ๋„ ์‹ ์„ฑํ•œ ๊ฐœ๋…์„ ๊ตฌ์ถ•ํ•˜๊ณ  ์ •์˜ํ•˜๋ ค ํ•˜๋Š” ๊ฒƒ์ด๋‹ค. ์˜๋ฏธ

    ์„ฑ์žฅํ•˜๊ฒŒ๋„๏ผŒ ์ค‘๊ตญ๊ทนํšŒ์˜ ์ค‘๊ตญ ๊ฑฐ๋ฆฌ๊ทน ๊ฐœ๋…์€ ๊ณต์—ฐ๊ณผ์ •์„ ํ†ตํ•ด ์›์ „์„ฑ์„ ํš๋“ํ•œ๋‹ค.

    ์ฒซ์งธ๏ผŒ ๊ณต์—ฐ์€ ๋ฌผ์งˆ์ ์ธ ๋ฉด๏ผŒ ํŠนํžˆ ์ „ํ†ต ์•…๊ธฐ์™€ ์˜์ƒ์„ ์‚ฌ์šฉํ•œ๋‹ค๋Š” ์ ์—์„œ ์›์ „์ 

    ์ด๋‹ค. ๋‘˜์งธ๏ผŒ ์ „ํ†ต ๊ทน์Œ์•… ๊ด€ํ–‰์— ์ค€๊ฑฐ๋ฅผ ๋‘ ์œผ๋กœ์จ ์ด๋ฒคํŠธ๋Š” ๋ฌธ์ž ๊ทธ๋Œ€๋กœ ์ค‘๊ตญ ๊ฑฐ๋ฆฌ

    ๊ทน์˜ ์›์ „์ฒ™ ์žฌํ˜„์œผ๋กœ ๊ตฌ์ถ•๋œ๋‹ค. ์…‹์งธ๏ผŒ ์ด๋ฒคํŠธ๋Š” ์˜๋ฌธ ๋ฒˆ์—ญ๏ผŒ ์˜์–ด ํ•ด์„ค๏ผŒ ๋ถ„์žฅ ๊ณผ์ •

    ๊ณต๊ฐœ๏ผŒ ์ดฌ์˜์ˆœ์„œ ๋งˆ๋ จ์„ ํ†ตํ•ด์„œ ์ฃผ๋กœ ์ Š๊ณ  ์™ธ๊ตญ์ธ์ธ ๋Œ€์ค‘๊ณผ ๊ณต์—ฐ์„ ์ผ์ฒดํ™”ํ•จ์œผ๋กœ์จ

    ์ค‘๊ตญ ๊ฑฐ๋ฆฌ๊ทน์˜ ํƒˆ์‹ ๋น„ํ™”๋ฅผ ์‹œ๋„ํ•œ๋‹ค. ๋„ท์งธ๏ผŒ ์ด๋ฒคํŠธ๋Š” ์‹ฑ๊ฐ€ํฌ๋ฅด์˜ ์ „ํ†ต ์ค‘๊ตญ ๊ฑฐ๋ฆฌ

    ๊ทน์— ๊ด€ํ•œ ๋‹ด๋ก ์„๏ผŒ ์ง„ํ™”๋ผ๋Š” ์ด๋ฆ„์œผํ›„ ํ•ฉ๋ฆฌํ™”ํ•œ๋‹ค ์ „ํ†ต ๊ฑฐ๋ฆฌ๊ทน์ด ํŠนํžˆ ์ข…๊ตํ–‰์‚ฌ

    ๊ธฐ๊ฐ„์˜ ๊ณต๋™์ฒด์ ๏ผŒ ์ œ์˜์ฒ™ ์ด๋ฒคํŠธ์˜€๋˜ ๋ฐ˜๋ฉด. ์ง€๊ธˆ์€ ์ „๋ฌธ๊ทน๋‹จ์— ์˜ํ•ด ์—ฐํ–‰๋˜๋Š” ํ•˜

  • ๋ฌธํ™”๋ฏผ์กฑ์ฃผ์˜์™€๏ผŒ ์›์ฒœ์„ฑ(ๅŽŸๅ…ธๆ€ง)์˜ ๊ฐ€์น˜ 61

    ๋‚˜์˜ ์˜ˆ์ˆ ํ˜•์‹์œผ๋กœ ๋ณด์กด๏ผŒ ์ง„ํ™๏ผŒ โ€˜๋ฐœ์ „โ€™ ๋œ ๊ฒƒ์ด๋ผ๋Š” ์‹์ด๋‹ค. ์‹ฑ๊ฐ€ํฌ๋ฅด์˜ ์ „ํ†ต ์ค‘๊ตญ

    ๊ฑฐ๋ฆฌ๊ทน์€ ์ด๋ฆฌํ•˜์—ฌ๏ผŒ ๊ต์œก๋ฐ›๊ณ  ์—ฌํ–‰์˜ฌ ๋งŽ์ด ํ•œ ์ข…์‚ฌ์ž๋“ค์ด ์ „ํ˜F๋Š” ์˜ˆ์ˆ ์  ์ถ”๊ตฌ์˜

    ๋Œ€์ƒ์ด ๋˜์—ˆ๋‹ค. ๋ฐ”๊ฟ” ๋งํ•˜๋ฉด๏ผŒ ์ด๋ฅธ๋ฐ” ใ€ˆ์ „ํ†ต ์ค‘๊ตญ ๊ฑฐ๋ฆฌ๊ทนใ€‰์ด๋ผ๋Š” ์ด๋ฒคํŠธ์˜ ์ƒ์‚ฐ์„

    ํ†ตํ•ด ์ค‘๊ตญ๊ทนํšŒ๋Š” ์ค‘๊ตญ ๊ฑฐ๋ฆฌ๊ทน์˜ ์ƒˆ๋กœ์šด ์˜๋ฏธ๋ฅผ ๊ตฌ์ถ•ํ•  ๋ฝ•๋งŒ ์•„๋‹ˆ๋ผ๏ผŒ ๋‹ค๋ฅธ ์‚ฌํšŒ๊ณต

    ๋™์ฒด์˜ ์˜์—ญ์œผ๋กœ ํ˜ผํžˆ ์ธ์‹๋˜๊ณ  ์žˆ๋Š” ์ „ํ†ต์„ ์ „์œ (ๅฐˆๆœ‰)ํ•˜๊ณ  ์žฌ(ๅ†)์˜๋ฏธํ™”ํ•  ์‚ฌํšŒ

    ์ฒ™ ์ง€์œ„์™€ ์ง€์‹๊ณผ ๊ถŒ๋ ฅ์„ ์ฃผ์žฅํ•˜๋Š” ๊ฒƒ์ด๋‹ค.

    ์—ญ์‚ฌ๏ผŒ์ง€์—ญ์ƒ๏ผŒ์œ ์‚ฐ

    ์‹ฑ๊ฐ€ํฌ๋ฅด์˜ ์ „ํ†ต๊ณผ ํ˜„๋Œ€์˜ ๋ฉด๋ชจ๋“ค์œจ ์žฌํ˜„ํ•˜๊ธฐ ์œ„ํ•ด ๋งˆ๋ จ๋œ ์ฟจ๋ผํฌ ์ฝฐ์ด์˜ ์—ญ์‚ฌ

    ์™€ ๊ณต๊ฐ„๋ฐฐ์น˜์™€ ๋ถ„์œ„๊ธฐ ์†์— ์ž๋ฆฌ์žก์€ ์ค‘๊ตญ๊ทนํšŒ์˜ ๊ณต์—ฐ์€ ์ „ํ†ต์ฒ™ ๊ด€์„ฌ์‚ฌ๏ผŒ ์˜ˆ์ˆ ์ฒ™

    ์„ฑ์ทจ๋„๏ผŒ ๊ตญ๋‚ด์™ธ์˜ ๋ช…์„ฑ ์ถ”๊ตฌ๋ฅผ ํ†ตํ•ด์„œ ํ˜„์žฅ์˜ ์ƒˆ๋กœ์šด ์˜๋ฏธ๋ฅผ ๋ฐ˜์˜ํ•˜๊ณ  ๊ฑฐ๊ธฐ ๊ธฐ์—ฌ

    ํ•œ๋‹ค๋Š” ์ •์—์„œ ๊ทธ๋Ÿด๋“ฏํ•˜๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ์—ฌํ–‰์ž๋“ค์ด๋‚˜ ์‹ฑ๊ฐ€ํฌ๋ฅด ํ˜„์ง€์ธ ๋ชจ๋‘. ํด๋ผํฌ

    ์ฝฐ์ด์— ์žˆ๋Š” ๋ชจ๋“  ์‚ฌํšŒ์  ๊ณต๊ฐ„์€ ์กฐ์ž‘๋œ ์ „ํ†ต์ด๋ผ๋Š” ๊ฒƒ์˜ฌ ์–ด๋ ต์ž–๊ฒŒ ๋ˆˆ์น˜์ฑˆ๋‹ค. ์ด

    ๋ ‡๊ฒŒ ๋ณธ๋‹ค๋ฉด๏ผŒ ์–ด๋–ป๊ฒŒ ์ค‘๊ตญ๊ทนํšŒ์˜ ๊ณต์—ฐ์ด โ€œ๋ชจ๋ฐฉ์  ์‹ ๋น™์„ฑ (Bruner 1994: 399)์˜ฌ ์„ฑ ์ทจํ•˜๊ณ  โ€˜์›์ „์ฒ™โ€™ ๊ด€ํ–‰์ž„์„ ๊ณ„์†ํ•ด์„œ ์ฃผ์žฅํ•  ์ˆ˜ ์žˆ์„๊นŒ? ์ค‘๊ตญ๊ทนํšŒ๊ฐ€ ์›์ „์„ฑ์„ ํš๋“

    ํ•œ ๊ฐ€์žฅ ์ค‘์š”ํ•œ ๊ณผ์ •์€๏ผŒ ํŠนํžˆ 1980๋…„๋Œ€ ์ค‘๋ฐ˜ ์ดํ›„ ์‹ฑ๊ฐ€ํฌ๋ฅด์˜ ๋ฌธํ™” ๊ตฌ์ถ•์ด๋ผ๋Š” ๋งฅ

    ๋ฝ ์•ˆ์—์„œ ํ–‰ํ•ด์ง„ ์ค‘๊ตญ๊ทนํšŒ ์ด๋ฐ์˜ฌ๋กœ๊ธฐ์˜ ์ „๋žต์ฒ™์—” ์ž๋ฆฌ๋งค๊น€์ด๋ผ๋Š” ๊ฒƒ์ด ๋‚ด ์ƒ๊ฐ ์ด๋‹ค 3

    ์š”์ปจ๋Œ€๏ผŒ ์ด ๊ธฐ๊ฐ„ ์‹ฑ๊ฐ€ํฌ๋ฅด์˜ ๋ฌธํ™” ์ด๋ฐ์˜ฌ๋กœ๊ธฐ๋Š” โ€˜๋ฌธํ™”โ€™ ๋ผ๋Š” ๊ฐœ๋…์„๏ผŒ ์ฐฝ์กฐ์„ฑ์„

    ๋ถ๋‹์šฐ๊ณ  ์ง€์—ญ์˜ ์—ญ์‚ฌ์™€ ์ •์ฒด๊ฐ์˜ฌ ๋‹ด๊ณ ๏ผŒ ๋‹ค๋ฌธํ™”์ฃผ์˜๋ฅ  ์นญ์†กํ•˜๊ณ ๏ผŒ ๊ฐ€์žฅ ์ค‘์š”ํ•˜๊ฒŒ๋Š”

    โ€˜์‹ฑ๊ฐ€ํฌ๋ฅด์ฒ™โ€™ ์ด๋ผ๋Š” ํฌ๊ด„์  ๊ฐœ๋…์„ ์‚ฐ์ถœํ•˜๋Š” ์˜ˆ์ˆ  ์‹ค์ œ์™€ ๋™์ผ์‹œํ–ˆ๋‹ค. ์˜๋ฏธ์‹ฌ์žฅํ•˜

    ๊ฒŒ๋„ ์ด๋Ÿฌํ•œ ๋ฌธํ™” ์ด๋ฐ์˜ฌ๋กœ๊ธฐ๋Š” ๊ฒฌ์‹คํ•œ ๊ฒฝ์ œ๏ผŒ ๋†’์€ ๊ต์œก์ˆ˜์ค€๊ณผ ์ •์น˜์  ์•ˆ์ •์„ฑ์—

    ํŽธ์ˆญํ–ˆ๋‹ค. ์ด๋Ÿฌํ•œ ๋งฅ๋ฝ์—์„œ โ€˜๋ฌธํ™”โ€™ ์— ๊ด€ํ•œ ๋‹ด๋ก ๊ณผ ํŒ๋ จ๋œ ์‚ฌํšŒ์ฒ™ ๊ด€ํ–‰์€ (์ œ์ž„์Šค

    ํด๋ฆฌํฌ๋“œ์˜ ๋ง์˜ฌ ๋นŒ๋ฆฌ์ž๋ฉด) ์˜ˆ์ˆ -๋ฌธํ™” ์ฒด๊ณ„ ์•ˆ์— ์ˆ˜์šฉ๋˜์–ด ๊ธ์ •์ฒ™์ธ ์‚ฌํšŒ์ฒ™ ๊ฐ€์น˜

    ๋ฅผ ๋ถ€์—ฌ๋ฐ›์•˜๊ณ ๏ผŒ ์•„๋งˆ์ถ”์–ด ์ง‘๋‹จ์— ์˜ํ•œ ์ค‘๊ตญ ๊ฑฐ๋ฆฌ๊ทน ๊ณต์—ฐ์€ ๋ฐ”๋กœ ์ด๋Ÿฐ ๊ฒฝ์šฐ์— ํ•ด๋‹น

    ํ•œ๋‹ค. ์™€์–‘๊ทน๋‹จ์— ์˜ํ•œ ์ค‘๊ตญ ๊ฑฐ๋ฆฌ๊ทน ๊ณต์—ฐ์ด ์ „ํ†ต์ ์ด๊ณ  ๋‹ค์†Œ ์„ธ์†์ฒ™์ธ ๊ธฐ๋Šฅ์˜ฌ ์ˆ˜

    ํ–‰ํ•˜๋Š” ๋ฐ˜๋ฉด๏ผŒ ์•„๋งˆ์ถ”์–ด ๊ทน๋‹จ๊ณผ ์ค‘๊ตญ๊ทนํšŒ์— ์˜ํ•ด ๊ณต์—ฐ๋˜๋Š” ์ค‘๊ตญ ๊ฑฐ๋ฆฌ๊ทน์€ ํ˜„์žฌ์˜

    ์‚ฌํšŒ์ฑ… ํ‹€ ์†์—์„œ โ€˜๋ฌธํ™”์ฒ™โ€™ ์ด๋‹ค. ํ˜„๋Œ€ ์‹ฑ๊ฐ€ํฌ๋ฅด์—์„œ ๋ฌธํ™”์  ํ–‰์œ„๊ฐ€ ๋†’์ด ํ‰๊ฐ€๋˜๋Š”

    ํ•œ๏ผŒ ์ค‘๊ตญ๊ทนํšŒ์˜ ๊ณต์—ฐ์€ ๊ตญ๊ฐ€์™€ ์ผ์น˜ํ•˜๋Š” ์ด๋ฐ์˜ฌ๋กœ๊ธฐ๋ฅผ ๊ฐ€์ง€๋ฏ€๋กœ โ€˜์ง„์งœโ€™ ์ด๋‹ค. ๊ทธ๋งŒ

    ํผ ์™€์–‘๊ทน๋‹จ์€ ๋น„์Šทํ•œ ์ด๋ฐ์˜ฌ๋กœ๊ธฐ๋ฅผ ํ‘œ๋ฐฉํ•˜์ง€ ์•Š์œผ๋ฏ€๋กœ ํ‰๊ฐ€์ฒ ํ•˜๋œ๋‹ค.

    ์ค‘๊ตญ๊ทนํšŒ์˜ ์‚ฌํšŒ์ฒ™ ์ง€์œ„์™€ ๊ตญ๊ฐ€์™€์˜ ์ด๋ฐ์˜ฌ๋กœ๊ธฐ์ฒ™ ๋™๋งน์€ ๊ทธ๋“ค ๊ณต์—ฐ์— ์‹ ๋ฑ…์„ฑ์„

    ์ค€๋‹ค. ๊ทธ๋Ÿฌ๋‚˜ ๋” ์ค‘์š”ํ•œ ๊ฒƒ์€๏ผŒ ์ค‘๊ตญ๊ทนํšŒ์™€ ์•„๋งˆ์ถ”์–ด ๊ทน๋‹จ๋“ค์—๊ฒŒ ํ›ค์ „์„ฑ์˜ ์ฃผ์žฅ์€

    3์‹ฑ๊ฐ€ํฌ๋ฅด์—์„œ ๋ฌธํ™”์™€ ์ •์ฒด์„ฑ์˜ ๊ตฌ์ถ•์— ๊ด€ํ•œ ์—ฐ๊ตฌ๋กœ๋Š” Chua and Kuo (1995) ๋ฐ Koh (1989)๋ฅ  ๋ณด๋ผ๏ผŒ

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    ๊ทธ๋“ค์˜ ์‚ฌํšŒ์ฒ™ ์ง€์œ„๋กค ์˜ˆ์ˆ -๋ฌธํ™” ์ฒด๊ณ„ ์•ˆ์—์„œ ๋ฌธํ™”์ฒ™ ์ฃผ์ฐฝ์ž๋กœ ํ™•์‹คํžˆ ์ž๋ฆฌ๋งค๊น€ํ•˜

    ๋Š” ๋ฐ ์ค‘์š”ํ•˜๋‹ค๋Š” ์ •์ด๋‹ค. ์•„๋ฌดํŠผ ๋‚˜๋Š” ์ž๊ธฐ๋„ค์˜ ๊ทน์— ๊ด€ํ•ด ์›์ „์„ฑ์˜ฌ ๋”ฐ์ง€๋Š” ์ค‘๊ตญ

    ์™€์–‘ ๋ฐฐ์šฐ๋Š” ๋ณธ ์ ์ด ์—†๋‹ค. ์ด๋ ‡๊ฒŒ ๋ณด๋ฉด ๋‹ค์‹œ๏ผŒ ์›์ „์„ฑ์— ๋Œ€ํ•œ ์ถ”๊ตฌ๋Š” ํ•œ ์ง‘๋‹จ์„ ๋‹ค

    ๋ฅธ ์ง‘๋‹จ๊ณผ ๊ตฌ๋ณ„ํ•˜๊ณ ๏ผŒ ์‚ฌํšŒ์ฒ™ ๊ตฌ๋ถ„์„ ์‚ฐ์ถœํ•ด ๋Œ„๋‹ค. ์›์ „์„ฑ์˜ ๊ฐœ๋…์€ โ€˜๋ฌธํ™”์ฒ™โ€™ ์ธ ์ค‘

    ๊ตญ ๊ฑฐ๋ฆฌ๊ทน์ด๋ผ๋Š” ์‚ฌํšŒ์ฒ™ ๊ฐ€์น˜๋ฅผ ๋ฐฐ๊ฐ€ํ•ด ์ค€๋‹ค. ์ด๊ฒƒ์ด ์‹ฑ๊ฐ€ํฌ๋ฅด์˜ ๋ฌธํ™”์ฒ™ ์ •์ฒด์„ฑ์ด

    ๋ผ๋Š” ๊ตญ๊ฐ€์  ์—ด๋ง์— ๋ถ€์‘ํ•  ์—ญ์‚ฌ์ฒ™ ์˜๋ฏธ์™€ ํ˜„๋Œ€์  ํ˜ธ์†Œ๋ ฅ์œต ๊ฐ–์ถ”์—ˆ๋‹ค๋Š” ๋Š๋‚Œ์„ ์กฐ

    ์ž‘ํ•ด ๋‚ธ๋‹ค. ๋ฐ”๊ฟ” ๋งํ•˜๋ฉด ์›์ „์„ฑ์€๏ผŒ ์˜ˆ์ˆ ์ ์œผํ˜ธ ์ƒ๋™๊ฐ์žˆ๊ณ ๏ผŒ ์œ ์„œ๊นŠ์œผ๋ฉด์„œ๋„ ์ „์„ธ

    ๊ณ„๋ฅผ ์ง€ํ–ฅํ•˜๋Š” ๋งฅ๋ฝ์ด๋ผ๋Š”๏ผŒ ์‹ฑ๊ฐ€ํฌ๋ฅด๊ฐ€ ํš๋“ํ•˜๊ณ ์ž ์—ด๋งํ•˜๋Š” ๋ฌธํ™”์ฒ™ ์‹ฌ์ƒ์˜ ์ƒ์ •

    ์ด๋‹ค. ์ด ๋ฌธํ™”์ฒ™ ์ด๋ฐ์˜ฌ๋กœ๊ธฐ๋Š” ์‚ฌํšŒ์ฒ™์œผ๋กœ ๊ฐ•๋ ฅํ•˜๊ณ  ํšจ๊ณผ์ ์ด๋‹ค. ํŠน์ • ๋ฏผ์กฑ์ง‘๋‹จ์„

    ์–ธ๊ธ‰ํ•˜์ง€ ์•Š๊ณ ์„œ โ€˜์‹ฑ๊ฐ€ํฌ๋ฅด์ฒ™โ€™ ์ด๋ผ๋Š” ์ด์ƒ์ ์ด๊ณ  ํ†ตํ•ฉ์ฒ™์ธ ๊ฐœ๋…์„ ์ง€ํ–ฅํ•˜๊ธฐ ๋•Œ๋ฌธ

    ์ด๋‹ค.

    ๋น ๋ฅธ ์„ธ๊ณ„ํ™”์˜ ๋งฅ๋ฝ ์†์—์„œ ์ง€์—ญ์‚ฌ๋ฅผ ์ง„ํฅํ•˜๊ณ  ์ „ํ†ต์˜ฌ ๋ณด์กดํ•˜๋ ค๋Š” ๊ตญ๊ฐ€์  ๊ด€์‹ฌ

    ์€ ๋‹จ์ˆœํžˆ โ€˜๋™๊ณผ ์„œ์˜ ๋งŒ๋‚จโ€™ ์ด๋ผ๋Š” ๋ฅ ์˜ฌ ์จ์„œ๋Š” ์ดํ•ดํ•  ์ˆ˜ ์—†๋‹ค. ์ด ์‚ฌ๋ก€์—ฐ๊ตฌ๋Š” ์‹ฑ

    ๊ฐ€ํฌ๋ฅด๊ฐ€ ์ง€๊ธˆ์˜ ์ •์น˜ํ™˜๊ฒฝ ์†์— ๋…น์•„๋“ค์–ด๊ฐ€ ์žˆ๋Š” ๋ฌธํ™”์ฒ™์œผ๋กœ ๋‹ค์–‘ํ•œ ๋ฏผ์กฑ๊ตฌ์„ฑ๊ณผ

    ์•„์‹œ์•„์ฒ™ ๊ณผ์ •๊ณผ (๋™๊ณผ ์„œ์— ๋ชจ๋‘ ๊ฑธ์น˜๋Š”) ๊ณ ์œ ์˜ ์—ญ์‚ฌ๋ฅผ ๋™์›ํ•ด ๊ตญ๊ฐ€์ฒ™ ์ •์ฒด์„ฑ์„

    ๊ตฌ์ด‰ํ•˜๋Š” ๊ณผ์ •์—๋Š” ์—ฌ๋Ÿฌ ๊ฐ€์ง€ ๊ธด์žฅ์ด ๊ฐœ์ž…ํ•˜๊ณ  ์žˆ์Œ์„ ๋ณด์—ฌ์ค€๋‹ค. ๋ฌธํ™”๋ž€ ๋ฌด์—‡์ด

    ์—ฐํ–‰๋˜๊ณ  ์žˆ๋Š”๊ฐ€๋ณด๋‹ค๋Š” ์–ด๋–ป๊ฒŒ ์—ฐํ–‰๋˜๋Š”๊ฐ€์— ์˜ํ•ด๏ผŒ ๊ทธ๋ฆฌ๊ณ  ๊ทธ ๊ณผ์ •์—์„œ ๊ฒฐ๊ณผ์ ์œผ

    ๋กœ ๊ตฌ์ถ•๋˜๋Š” ๋ฌธํ™”์  ๋•๋ชฉ๋“ค์˜ ์ฒดํ—˜์— ์˜ํ•ด ๊ทœ์ •๋˜๋Š” ๊ฒƒ์ด๋‹ค. ์Œ์•… ์—ฐํ–‰์€ ์ด๋Ÿฌํ•œ

    ๋ฌธํ™”์ฒดํ—˜์„ ์‚ฐ์ถœํ•˜๋Š” ์ˆ˜๋‹จ์ด๋ฉฐ๏ผŒ ์›์ „์„ฑ์˜ ๊ฐœ๋…์€ ์ด์ƒ์  ๋•๋ชฉ์ด๋‹ค.

    ์—ญ์‚ฌ๏ผŒ ๊ตญ๊ฐ€์˜ ๊ถŒ์œ„๏ผŒ ๊ทธ๋ฆฌ๊ณ  ๊ด€๊ด‘์€ ๋ฌธํ™”๊ณต์—ฐ์—์„œ ์›์ „์ฒ™ ๊ด€ํ–‰. ํ–ฅ์ˆ˜์™€ ์ฐธ์‹ ํ•จ์˜ฌ

    ๋‹ค ํฌํ•จํ•˜๋Š” ๊ด€ํ–‰๊ณผ ์ƒํ˜ธ์ž‘์šฉํ•˜๋Š” ์ค‘์š”ํ•œ ๋ฉ”์นด๋‹ˆ์ฆ˜์ด๋‹คโ€˜ ์ค‘๊ตญ๊ทนํšŒ์˜ ใ€ˆ์ „ํ†ต ์ค‘๊ตญ

    ๊ฑฐ๋ฆฌ๊ทนใ€‰ ์ด๋ฒคํŠธ์™€ ๊ฐ™์€ ๊ณต์—ฐ๋“ค์€ ์™€์–‘ ๊ทน๋‹จ์— ์˜ํ•œ ์ค‘๊ตญ ๊ฑฐ๋ฆฌ๊ทน์˜ ์—ญ์‚ฌ๋ฅผ ๋ฐ€์–ด๋‚ด

    ๊ณ  ์ž๊ธฐ๋„ค ๊ฝ์—ฐ ์ด๋ฐ์˜ฌ๋กœ๊ธฐ๋ฅผ ํ˜„๋Œ€ ์‹ฑ๊ฐ€ํฌ๋ฅด์˜ ๋ฌธํ™”์  ๋‹ด๋ก  ์•ˆ์— ์ž๋ฆฌ๋งค๊น€ํ•จ์œผ๋กœ

    ์จ๏ผŒ ์ „ํ†ต์„ ์žฌ๊ตฌ์„ฑํ•˜๊ณ  ๋‚˜๋ฆ„์˜ ์›์ „์„ฑ์„ ๊ตฌ์ถ•ํ•œ๋‹คโ€˜ ๊ทธ๋ฆฌํ•˜์—ฌ ์›์ „์„ฑ์˜ ๊ฐœ๋…์€ ์–ธ

    ์ œ๋‚˜ ์‚ฌํšŒ์ฒ™์œผ๋กœ ๊ตฌ์„ฑ๋˜๋ฉฐ๏ผŒ ์ž๊ธฐ๊ทœ์ •๊ณผ ์‚ฌํšŒ์ฒ™ ์ง€์œ„์˜ ์‹คํ–‰์„ ์œ„ํ•œ ์ผ์ข…์˜ ๋ฌธํ™”์ž

    ๋ณธ์œผ๋กœ๊ธฐ๋Šฅํ•œ๋‹ค.