漢代 角抵戲 항목에 포함되어 기록된 <東海黃公>의 출현은 중국 戲劇 형성과 발전의 출발점으로 인식될 만큼 중국 고대 戲劇史에서 차지하는 의미는 크다고 할 수 있다. 본고는 漢代에 공연된 <東海黃公>의 공연상황과 희극사적 의미를 재조명한다는 목적에서 현존하는 관련 기록을 다시 한번 살펴보았으며, 지금까지 제기된 <東海黃公>에 대한 쟁점 중 戲劇性 문제와 故事 내용의 喜·悲劇性 문제를 중심으로 정리 고찰하였다.

The appearance of < HuangGong of East Sea > has an important meaning enough to decorate the first page of ancient Chinese Drama art history. The records of < Xijing Fu > and 《Xijing Zaji》are valuable text materials for the study of < HuangGong of East Sea >. The difference between the two records came from the form of the record and the point of view of the recorder looking at < HuangGong of East Sea >. Zhang Heng’s < Xijing Fu > is a work of Fu(poetry in Han Dynasty), he described the directing form of various arts unfolded under the name of ‘Jiao-Di opera’. Ge Hong’s 《Xijing Zaji》aims to collect various interesting stories. For this reason, it did not focus on the performance of < HuangGong of East Sea >, but described the story centered on HuangGong, who gained fame as a method in the late Qin Dynasty. < HuangGong of East Sea > has a story of conflicting contradictions and reveals undeniable theatrical characteristics of plot development with causal relationships. The format of the performance would have been the main scene of the fight between HuangGong and the white tiger. However, it was not the form of Jiao-Di art, which means simple strength fighting. The actors would have acted in makeup to maximize the figures of HuangGong and the white tiger. Through this, they would have revealed the aesthetic characteristics of the play that expected the development process and ending of the story. The debate on whether < HuangGong of East Sea > is a comedy or a tragedy should be looked at from the perspective of changes in the environment of the times. In particular, the difference in the position of the recorder would have forced them to have different views of ridicule and sympathy for HuangGong.