@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002732,
 author = {徐, 禎完 and SUH, Johng Wan},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {30},
 month = {Mar},
 note = {pdf, Comparative research on masked plays on the peninsula and the archipelago becomes a deeply fascinating subject when looked at from the perspective of masked plays and performances in East Asia. This is likely because this presupposes cultural similarities in both regions based on their historical background. However, in reality, there are many points that need to be explained, such as where is called “performance (geinou)” in Japan is called “theater (engeki)” in Korea. In fact, when outlining the masked plays of both regions, the only example of exchanges or contact that can be found in documentation is the gigaku said to be transmitted by Mi Ma Shi of the Kudara. Despite this, there was no further transmission of gigaku between the two regions beyond this.
This paper attempts to follow how gigaku in the two regions developed and how they relate to later performance and theater. Although it is impossible to recreate gigaku itself, by analyzing the collected fragments, it is hoped that it will be possible to fill in a part of the gigaku mosaic lost to the flames.
The main points to be discussed are as follows.
(1) The state and problems of gigaku research in both countries.
Today, the “roots of gigaku” theory exists as one of the three theories in Korea to explain the development of masked plays. I would like to look at the problems here while both continuing and criticizing earlier research. I will also look at the present state and problems with Japanese gigaku research.
(2) Mi Ma Shi’s “Gigaku-bu” and Gigaku in Kyoukunshou
Gigaku research in both countries uses Kyoukunshou as a basis for reconstructing gigaku.Kyoukunshou does provide the most information regarding gigaku, making it an important resource. However, the problem of how to interpret it requires examination.
(3) Gigaku in historical records
Picking up fragments of gigaku's development from the Six Histories (Rikkokushi) and documents from temples and shrines, I will examine whether anything new can be discovered.
(4) Gigaku in flute scores
I will pick up parts of the development of gigaku from the Kanroji house documents including Gigiaku Ryuuteki Fu, Shinsen Gakufu, Jinchi Youroku and modern ryuuteki scores.
(5) Gigaku in works on music
I will collect scattered fragments of gigaku from works on music such as Shoku Kyoukunshou, Gakka Sho, Taigenshou, looking at how musicians regarded and handled gigaku.},
 pages = {109--136},
 publisher = {国文学研究資料館},
 title = {研究発表　「伎楽」追跡考　―東アジア仮面劇・芸能研究の一端として―},
 year = {2007},
 yomi = {ソ, ジョンワン}
}