문화콘텐츠 원천소스로서 《서유기》의 구조분석과 활용 전략 연구

Abstract

본 논문은 중국 고전 소설 《서유기》의 문화콘텐츠 원천소스로서 가치를 캐릭터, 스토리, 공간 등의 요소분석을 통해 찾아보고자 한다. 또한 《서유기》가 보유한 문화콘텐츠 요소를 활용한 애니메이션, 드라마, 영화 등의 활용 특성을 분석하여, 차후 고전스토리를 문화콘텐츠의 다양한 매체로 기획ㆍ제작할 때 참조할 수 있는 유의미한 전환(adaption) 방법론을 모색해본다. 중국 명대(明代) 소설 《서유기》는 삼장법사와 손오공, 저팔계, 사오정, 백마가 부처가 있는 서역으로 경전을 구하러 가는 도중 겪게 되는 신비한 사건들로 구성되어 있는 풍부한 환상성을 갖춘 아시아의 ‘판타지 고전’이다. 문화콘텐츠 원천소스로서 《서유기》의 가장 중요한 요소는 손오공, 저팔계, 사오정, 요괴 등 독특한 환상적 캐릭터들이다. 《서유기》의 주요 캐릭터들은 수성(獸性), 인성(人性)과 신성(神性)을 함께 갖고 있는 복합적 성격의 캐릭터들이며, 동시에 저팔계, 손오공, 삼장은 인간 성격의 세 체계인 이드, 자아, 초자아의 관계를 상징한다. 삼장일행을 가로막는 요괴들도 환상성 구축과 함께 욕망의 화신이란 상징적 성격을 갖고 있다. 문화콘텐츠로 전환할 때, 《서유기》캐릭터의 복합적 성격은 성장형 스토리에 적합한 특성이며, 손오공과 저팔계 같은 동물캐릭터는 대중 친화력이 뛰어난 특성으로 활용도가 크다. 동시에 《서유기》는 여러 주인공을 보유한 집단 캐릭터 특성을 지니고 있어 다양한 캐릭터의 이야기를 그려낼 수 있다. 캐릭터 활용측면에서 영화 <포비든 킹덤>은 인지도 높은 손오공 캐릭터를 단독으로 차용하였으며, 애니메이션 <SF 서유기, 스타징가>는 관음보살을 오로라 공주로 변화시키는 등 캐릭터의 일부를 변형시켰고, 애니메이션 <최유기>는 캐릭터들의 성격을 변형시켜 새로운 가치를 창출하였다. 《서유기》는 이중적 스토리구조를 갖고 있다. 《서유기》의 표층 스토리구조는 영웅모험담 구조 속에 대결 구조가 들어가 있는 중첩구조이며, 심층구조는 욕망 극복의 상징구조이다. 《서유기》는 구술성을 바탕으로 하는 에피소드 중심의 삽화적 구조가 특징이다. 삽화적 구조는 서구문학에서 저평가 되었지만, 인터넷과 같은 뉴 미디어가 출현하면서 다시 그 가치를 인정받고 있다. 원천소스로서 《서유기》의 사건중심의 삽화적 스토리구조는 연속 시리즈물에 활용도가 높다. 또한 매회 캐릭터의 성격에 따른 다양한 사건이 불연속적인 관계 속에 발생하는 시트콤이나 장편 TV애니메이션처럼 반복적인 이야기구조를 활용하는 장르에서도 무한한 이야기를 생산할 수 있는 장점이 될 수 있다. 《서유기》 스토리구조를 활용한 콘텐츠를 살펴보면, 애니메이션 <드래곤 볼>은 손오공 캐릭터와 대결 구도만을 활용하였다. 애니메이션 <날아라 슈퍼보드>는 캐릭터구도와 모험여정과 대결구도를 모두 차용하고 있다. 영화 <대화서유>는 욕망극복의 심층구조를 유머러스하게 표현하였다. 《서유기》에 그려지는 세계는 현실과 유사하지만 다른 하이 판타지(High Fantasy) 세계이다. 《서유기》의 공간은 천계-지상-하계로 구성되어 있다. 상징적 의미에서 천계는 욕망이 배제된 신성공간이며, 지상은 욕망의 추구와 충돌이 발생하는 세속공간이다. 삼장과 그 제자들은 세속공간인 서역을 여행하며 시련을 이겨내고 마침내 자기존재의 근원으로 진입할 수 있었다. 즉 《서유기》에서 공간이동은 자기존재의 근원을 향한 탐색이며, 공간이동을 통한 체험은 자아에 대한 성찰의 성격을 갖게 된다. 《서유기》의 공간구조를 활용한 콘텐츠를 살펴보면 온라인 게임 <몽환서유>는 《서유기》의 공간구성을 게임 맵으로 차용하고 있다. 애니메이션 <SF서유기 스타징가>는 인간에게 미지로 남아 있는 우주 공간을 배경으로 고전적 판타지를 과학적 판타지로 전환시켰다. 활용사례 분석을 통해 《서유기》의 캐릭터는 애니메이션과 영화에서 개별 캐릭터 활용과 전체 캐릭터 활용이 가능하다는 것을 확인하였다. 향후 캐릭터 활용에 있어서 현대적 메시지를 담은 캐릭터 개발을 통해 목표시장을 확대하고, 집단 캐릭터 특성을 활용하여 향유층을 확대하는 전략이 필요하다. 《서유기》의 스토리구조는 일종의 열린 구조로 모험여행과 대결구조를 기본 골격으로 하는 다양한 포맷개발이 가능하다. 향후 활용전략으로 에피소드 구조를 활용하여 시리즈물을 기획ㆍ개발하는 전략과 욕망극복의 심층구조를 활용하여 예술적 성취도를 높이는 전략에 주목하여야 한다. 《서유기》의 공간은 아시아적 판타지 세계를 제공하며, 게임 맵 등으로 활용되고 있다. 향후 지역문화 상품 개발과 연계하여 실재 지역공간에 테마파크 등 스토리와 지역을 결합하는 개발전략이 효과적이다.|This thesis aims to look for the value of the classic Chinese novel <The Journey of the West> as the source of cultural content through element analysis of its own characters, stories and space, etc. Furthermore by examining the characteristics of animations, soap operas and movies using the elements of cultural content took by <The Journey of the West>, it is intended to seek for a significant adaptation methodology that can be referred to in planning and manufacturing contents in diverse media in the future. <The Journey of the West>, a novel written in Ming dynasty of China, is one of the four great classical novel of Chinese literature with luxuriant musing factors in Asia. Also the story is based on the mysterious events faced by the monkey Sun Wukong, the pig Zhu bajie, the spector Sha Wujing and the white horse Longma on their way to the West, where Buddha existed, to acquire the Sacred Scriptures. The most important element of <The Journey of the West> as the primary source of cultural content is its unique fantastic characters such as Sun Wukong, Zhu bajie, Sha Wujing, and the monk Xuanzang. Main characters of <The Journey of the West> have a multiple nature combining beastlike, human and divine character, while Sun Wukong, Zhu bajie and Xuanzang symbolize id, ego and superego, three systems of human nature identified by Sigmund Freud. Even specter Sha Wujing that interrupts the company of the monk Xuanzang has the symbolic nature as an incarnation of desires as well as a constructed reverie. When adapted into a cultural content, the multiple characters in <The Journey of the West> is a feature suited for a growth-type story, while animal characters like Sun Wukong, Zhu bajie featured by distinguished popular affinity have a great utilization. At the same time, <The Journey of the West>, characterized by a group character with many heroes, is suited for portraying a story of diverse characters as Caper Movie does. Of contents using <The Journey of the West>’s characters for primary source, the movie <The Forbidden Kingdom> has borrowed the high name-recognition Sun Wukong’s character mainly, the animation <SF The Journey of the West, Starzinger> transformed part of its characters like Bodhisattiva adapted to Aurora prince, and the Japanese comic and animation version <Genzomaden Saiyuki> created a new value by transmuting < The Journey of the West>’s characters. <The Journey of the West> devised dual structure in the story. First, the story’s structure of the surface has an overlapping structure with confrontation frame contained again in heroic adventure scheme, while the deep structure is symbolic of overcoming desires. Compared to the western literatures, <The Journey of the West> is characterized by its episodic foundation with a focus on episode comparatively based on oral statements. Though conventionally underrated in the western culture, the episodic structure with non-linear and mosaic structure has proved its value again as new media like the Internet appeared. As the primary source of culture content, story scheme of <The Journey of the West> in a series proceeded in a similar format weekly has a higher availability in the episodic frame focused on events. Even in the genre using a repeated story structure like situation comedy or long-piece TV animation, the structure of <The Journey of the West> in which core characters continue to appear guaranteeing the uniformity of the story with change of assistant characters can be a strength in producing an endless story. Contents using the story structure of <The Journey of the West> include <Dragon Ball>, which, regardless of <The Journey of the West> story, only used the character from Sun Wukong, journey of adventures and confrontation composition. Animation <Flying Super-board> borrows all of character composition, journey of adventures and confrontation planning. Movie <A Chinese Odyssey> expressed humorously the deep structure of overcoming desires. The world portrayed in <The Journey of the West> is that of another high fantasy though it is similar to the reality. The space of <The Journey of the West> has a signifier composed of the heaven, the earth and the underground. The heaven is a space in which gods of Taoism and Buddhism exist, while the underground is made up of the waters and the land of the dead, and the earth is mixed up with humans and specters. The heaven as signified is a sacred space excluding desire and the earth is a secular space where search for and collision of desires occur. Xuanzang and his disciples went on the journey to the West, a secular space, and were at last able to enter the origin of self-existence. That is, spatial movement in <The Journey of the West> is a search for the origin of self-existence so the experience through spatial movement has the nature of reflection on the ego. Of examples of contents using the spatial structure of <The Journey of the West> as the primary source, online games <Dream of Xiyou> and <Daehwa Xiyou> borrow the spatial composition as a game map. Animation <SF The Journey of the West Starzinger> portrays the story of <The Journey of the West> in the space of the universe, which remains unknown to humans, to adapt the classic fantasy into a future fantasy. Through analysis of adaptation cases, it was verified that characters in <The Journey of the West> can be used for both individual and the whole characters in animations and movies. Besides, we need to set up a 3Ds development strategy for developing theme parks using animal characteristics and character goods, etc. Story structure of <The Journey of the West>, a kind of open structure, makes it possible to develop diverse formats in the basic frame of adventure travel and confrontation structure. Space in <The Journey of the West> provides Asiatic world of fantasy and is being used for game map, etc. In the future, development strategy for combining stories with actual local space in connection with developing goods of local culture would be effective. <The Journey of the West> in a longtime combination of historical facts and the ancient folk’s imagination is the text enjoyed until now with incessant transformation into diverse forms of the popular culture, such as a tale, stage play, novel, animation, drama, movie, game, etc. <The Journey of the West> is no more a Chinese own story but has become the common story for East Asia. Considering the future cultural trend such as growth of China’s culture market and Glocalism, <The Journey of the West> can be considered a text worth more positive research and planning as culture content.; This thesis aims to look for the value of the classic Chinese novel <The Journey of the West> as the source of cultural content through element analysis of its own characters, stories and space, etc. Furthermore by examining the characteristics of animations, soap operas and movies using the elements of cultural content took by <The Journey of the West>, it is intended to seek for a significant adaptation methodology that can be referred to in planning and manufacturing contents in diverse media in the future. <The Journey of the West>, a novel written in Ming dynasty of China, is one of the four great classical novel of Chinese literature with luxuriant musing factors in Asia. Also the story is based on the mysterious events faced by the monkey Sun Wukong, the pig Zhu bajie, the spector Sha Wujing and the white horse Longma on their way to the West, where Buddha existed, to acquire the Sacred Scriptures. The most important element of <The Journey of the West> as the primary source of cultural content is its unique fantastic characters such as Sun Wukong, Zhu bajie, Sha Wujing, and the monk Xuanzang. Main characters of <The Journey of the West> have a multiple nature combining beastlike, human and divine character, while Sun Wukong, Zhu bajie and Xuanzang symbolize id, ego and superego, three systems of human nature identified by Sigmund Freud. Even specter Sha Wujing that interrupts the company of the monk Xuanzang has the symbolic nature as an incarnation of desires as well as a constructed reverie. When adapted into a cultural content, the multiple characters in <The Journey of the West> is a feature suited for a growth-type story, while animal characters like Sun Wukong, Zhu bajie featured by distinguished popular affinity have a great utilization. At the same time, <The Journey of the West>, characterized by a group character with many heroes, is suited for portraying a story of diverse characters as Caper Movie does. Of contents using <The Journey of the West>’s characters for primary source, the movie <The Forbidden Kingdom> has borrowed the high name-recognition Sun Wukong’s character mainly, the animation <SF The Journey of the West, Starzinger> transformed part of its characters like Bodhisattiva adapted to Aurora prince, and the Japanese comic and animation version <Genzomaden Saiyuki> created a new value by transmuting < The Journey of the West>’s characters. <The Journey of the West> devised dual structure in the story. First, the story’s structure of the surface has an overlapping structure with confrontation frame contained again in heroic adventure scheme, while the deep structure is symbolic of overcoming desires. Compared to the western literatures, <The Journey of the West> is characterized by its episodic foundation with a focus on episode comparatively based on oral statements. Though conventionally underrated in the western culture, the episodic structure with non-linear and mosaic structure has proved its value again as new media like the Internet appeared. As the primary source of culture content, story scheme of <The Journey of the West> in a series proceeded in a similar format weekly has a higher availability in the episodic frame focused on events. Even in the genre using a repeated story structure like situation comedy or long-piece TV animation, the structure of <The Journey of the West> in which core characters continue to appear guaranteeing the uniformity of the story with change of assistant characters can be a strength in producing an endless story. Contents using the story structure of <The Journey of the West> include <Dragon Ball>, which, regardless of <The Journey of the West> story, only used the character from Sun Wukong, journey of adventures and confrontation composition. Animation <Flying Super-board> borrows all of character composition, journey of adventures and confrontation planning. Movie <A Chinese Odyssey> expressed humorously the deep structure of overcoming desires. The world portrayed in <The Journey of the West> is that of another high fantasy though it is similar to the reality. The space of <The Journey of the West> has a signifier composed of the heaven, the earth and the underground. The heaven is a space in which gods of Taoism and Buddhism exist, while the underground is made up of the waters and the land of the dead, and the earth is mixed up with humans and specters. The heaven as signified is a sacred space excluding desire and the earth is a secular space where search for and collision of desires occur. Xuanzang and his disciples went on the journey to the West, a secular space, and were at last able to enter the origin of self-existence. That is, spatial movement in <The Journey of the West> is a search for the origin of self-existence so the experience through spatial movement has the nature of reflection on the ego. Of examples of contents using the spatial structure of <The Journey of the West> as the primary source, online games <Dream of Xiyou> and <Daehwa Xiyou> borrow the spatial composition as a game map. Animation <SF The Journey of the West Starzinger> portrays the story of <The Journey of the West> in the space of the universe, which remains unknown to humans, to adapt the classic fantasy into a future fantasy. Through analysis of adaptation cases, it was verified that characters in <The Journey of the West> can be used for both individual and the whole characters in animations and movies. Besides, we need to set up a 3Ds development strategy for developing theme parks using animal characteristics and character goods, etc. Story structure of <The Journey of the West>, a kind of open structure, makes it possible to develop diverse formats in the basic frame of adventure travel and confrontation structure. Space in <The Journey of the West> provides Asiatic world of fantasy and is being used for game map, etc. In the future, development strategy for combining stories with actual local space in connection with developing goods of local culture would be effective. <The Journey of the West> in a longtime combination of historical facts and the ancient folk’s imagination is the text enjoyed until now with incessant transformation into diverse forms of the popular culture, such as a tale, stage play, novel, animation, drama, movie, game, etc. <The Journey of the West> is no more a Chinese own story but has become the common story for East Asia. Considering the future cultural trend such as growth of China’s culture market and Glocalism, <The Journey of the West> can be considered a text worth more positive research and planning as culture content.