As intangible cultural heritage, traditional performing arts depend on transmission by individuals and collectives. The purpose of this paper is to explore how traditional performers practice their arts in South Korea. The analysis focuses on the transformations of performance conventions and contexts, as well as on new genres that developed in response to heritage legislation and social change during the last 200 years.,Drawing on a wide array of existing ethnographic research, the paper compares processes of transmission and transformation of three different genres: the solo singing-storytelling genre pansori, the ensemble percussion-dance genre pungmul and the various regional forms of mask dance drama subsumed under the label talnori. The paper argues that the artists, who perform these genres, while not unaffected by the expectations of their audiences, have the power to transcend traditional boundaries.,Due to early professionalization in the nineteenth century, pansori performers could adapt to the changing contexts of market-oriented modernity and survive until governmental intervention in 1962. Pre-modern pungmul and talnori was performed primarily by and for rural communities, resulting in an interruption of transmission when these contexts disappeared and partial re-invention in the wake of official preservation legislation.,The need for repeated performance in historically varying contexts makes the analysis of performing arts particular fruitful for understanding how practitioners of tradition (have to) adapt to change. A historical-comparative perspective provides concise insights into the dynamics of development that informs tradition today. The inclusion of offspring genres (changgeuk, madang-geuk, samulnori) furthermore shows the potential of heritage development beyond the official system of preservation.

中文翻译：

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在保护与变化之间：韩国表演艺术遗产的发展

作为非物质文化遗产，传统表演艺术有赖于个人和集体的传播。本文的目的是探讨传统表演者如何在韩国练习艺术。该分析着重于绩效惯例和背景的转变，以及在过去200年中为响应遗产立法和社会变化而发展的新流派。在广泛的现有民族志研究基础上，本文比较了三种类型的传播和转换：独唱，讲故事的pansori类型，合奏的打击乐舞蹈类型pungmul和包含在talnori标签下的面具舞剧的各种区域形式。该论文认为，执行这些类型的艺术家 历史可比的观点为当今的发展动态提供了简洁的见解。包括后代（changgeuk，madang-geuk，samulnori）在内的其他流派也表明，遗产的发展潜力超出了官方的保护体系。