ÃÖ°í°ü¸®ÀÚ | February 17, 2014 | view 5,940
2007 l The Omertaic Look Into Pee l Baekgon 

The Omertaic Look Into Pee
Baekgon(Curator from Loop)
 
The Godfather(1972), directed by Francis Ford Coppola, tells the story about the brutal in the Corleone Mafia Family (the immigrants from Sicily) wrapped with the humanity. Its narrative consists in relentless betrayals and revenges. And, of course, it costs any betrayer his life. The final destiny of a resistant breaking the code of silence is being killed. Omerta is the code of silence in Mafia, as a secret oath of ¡®never telling others about family business.¡¯ It is about the family members¡¯ duty of not cooperating with police in any circumstance. It is always death which the breaker of code of silence has in the end. Thus ¡°Omerta¡± implies that there have been always the endless conflicts and clashes between keepers and breakers on this code of silence.
<Omerta – Code of Silence>, the 4th Solo Exhibition of Jia Chang, broaches a tacitly-consented-social-rule. She officially speaks out and confronts the code built only by men in our society. I think that she wants to reveal two things out in this exhibition. Firstly, she questions the foundation of the code that only men can stand up peeing. She thinks that it does not result from our approval of the difference between men and women, but from our acquiescence in different social behavioral patterns evolved from that difference. Secondly, she challenges the prejudice that urine is filthy. She starts from showing the scenes of women¡¯s standing up peeing, and proceeds to present the photos developed with urine-mixed-fixer as well as the objects coated with urine-salt. And she even requests her spectators to play with them. 
I can remember the faces of my colleagues when I have first lifted up her urine-stained-drawing with my gloved hands. They seemed to be unable to make up their minds whether to frown at that dirty thing or to smile at that honorable artwork. Neither was I. But she acts fair and square to urine, putting her idea into action. She thinks that one¡¯s avoidance of talking about it, thinking that it is filthy, only comes from the structure of social recognition of it. However, though we, plainly speaking, completely understand what it means to talk about women¡¯s standing up peeing and pee itself not in a restroom but in an ordinary place, we naturally tend to think that many spectators would frown at her works. This might be because people must react bodily first, rather than listen to reason, to its stink and the nuance of ¡°excrement.¡± And I believe that Chang also knows the fact well.
But there is one thing that we must notice in her works. To speak out omerta, she never takes the existing ideological ways to tell, like the feministic or structural antagonism against it. She makes her own unique way to tell it. She shows omerta just as it is. As I wrote above, the implication of omerta is the continuance of the conflicts and clashes between the affirmative and the dissident side. She wants to tell about omerta by revealing the conflicts and clashes it implies just the way as they are. Thus, to break the existing code of silence in our society, Chang creates a new omerta of her own. Her omerta is not about subversion of the power structure of our society, neither is one about our prejudice. 
All things she demonstrates in this exhibition are socially educated and forced codes. But her demonstration should be read showing rather that it is uneasy for women to stand up peeing, not that women can do it. And her making spectators play with the objects will emphasize the filthiness of urine. Thus her demonstration, on the contrary of subverting, is making spectators to recognize what our society agrees, and giving a notice of the existence and boundary of the social structure already existing in our society, not resisting against them. By telling about borderline case like women¡¯s standing up peeing, she conversely tells about what our society can accept and cannot accept.
After all, she tells us ironically that omerta can be sustained by being broken. Her violating omerta can be interpreted as a behavioral notice to accept that there is its criterion and boundary. However, we should make it clear that ¡®to accept,¡¯ mentioned just before does not mean that she wants to advance further than those and suggest new ones. We should better to know that her acceptance makes the permissible boundary of its criterion in our society more intelligible. In other words, Chang does not want to subvert the code of silence of our society, but she wants us to see where its permissible boundary is located. I am sure that all that she invented with pee in this exhibition reveals her own way to understand where the boundary of social acceptance is, so I want to conclude that she uses ¡®omerta¡¯ as the device of recognizing it.
Mario Puzo, the writer of its original novel, wrote <Omerta> as his last work. In this novel, Puzo describes how police uses Mafias to exterminate them, and raises an ethical question regarding where we can establish the threshold to decide the legitimate and the illegitimate. As reply to his question, we can say that a tacit of a society is an omerta which is just usually forced to its members in order to maintain it. Chang, through this exhibition about omerta, wants us to recognize that the rules we already have are not the only right answers to our society. If so, then we need to reconsider the criterion and the boundary of our omerta. And her works, I believe, can show us ¡®a¡¯ way to reach this reconsideration.
 
¿ÀÁÜ¿¡ ´ëÇÑ ¿À¸Þ¸£Å¸(Omerta)Àû ½Ã¼±
¹é°ï(´ë¾È°ø°£ ·çÇÁ Å¥·¹ÀÌÅÍ)

ÇÁ¶õ½Ã½º Æ÷µå ÄÚÆú¶ó(Francis Ford Coppola) °¨µ¶ÀÇ ¿µÈ­¡®´ëºÎ The Godfather¡¯(1972)´Â ½ÃÄ¥¸®¾Æ ¼¶ Ãâ½ÅÀÇ ²Ã¸®¿À³× °¡¹®À» Áß½ÉÀ¸·Î ÇÏ´Â ¸¶ÇÇ¾Æ ¼¼°èÀÇ ºñÁ¤ÇÔ°ú Á×°í Á×ÀÌ´Â Àΰ£»ç¸¦ °¡Á·ÀÇ ÈÞ¸Ó´ÏƼ·Î Æ÷ÀåÇÏ¿© º¸¿©ÁØ´Ù. ÀÌ ¿µÈ­ÀÇ ³»·¯Æ¼ºê´Â ¹è½Å°ú ¹è¹Ý, ±×¸®°í ±×¿¡ ´ëÇÑ ²÷ÀÓ¾ø´Â º¹¼ö·Î ÀÌ·ç¾îÁ®ÀÖ´Ù. ÀÀ´ç º¹¼ö´Â Á×À½ÀÌ´Ù. Á×ÀÓÀ¸·Î ¹è½ÅÀÚ¸¦ ó´ÜÇÏ´Â ÀÏ, ±×°ÍÀº ¾Ï¹¬ÀûÀ¸·Î Á¤ÇسõÀº ±ÔÄ¢¿¡ ´ëÇ×ÇÏ´Â ÀÚ¿¡ ´ëÇÑ ÃÖÈÄÀÌ´Ù. ¸¶ÇÇ¾Æ ¼¼°èÀÇ ¾ð¾î·Î ¾Ë·ÁÁø ¿À¸Þ¸£Å¸(Omerta)´Â ħ¹¬ÀÇ ¸Í¼¼·Î¼­ ¡®Á¶Á÷ÀÇ ºñ¹ÐÀ» Àý´ë·Î ¹ß¼³Çؼ­´Â ¾È µÈ´Ù¡¯¶ó´Â ¾ö°ÝÇÑ ±ÔÀ²À» ³ªÅ¸³»´Â ´Ü¾îÀÌ´Ù. ±×°ÍÀº ¾î¶°ÇÑ »óȲ¿¡¼­µµ °æÂû¿¡ Àý´ë·Î Çù·ÂÇÏÁö ¾Ê´Â´Ù´Â ÀÚ½ÅÀÇ Àǹ«¿¡ ´ëÇÑ ±ÔÄ¢ÀÌ´Ù. ±× ħ¹¬ÀÇ ±ÔÄ¢À» ±ú´Â ÀÚ¿¡ ´ëÇؼ­´Â ¾ðÁ¦³ª Á×À½À̶ó´Â º¸º¹ÀÌ µÚµû¶ú´Ù. ÀÌ·¸°Ô ¹ýÄ¢À» À¯ÁöÇÏ·Á´Â ÀÚ¿Í ±× ±ÔÄ¢À» ±ú°í »õ·Î¿î ±ÔÄ¢À» ¼¼¿ì·Á´Â ÀÚµéÀÇ ²÷ÀÓ¾ø´Â Ãæµ¹°ú ´ë¸³ÀÌ ¿À¸Þ¸£Å¸¶ó´Â ´Ü¾î¿¡ ³»Æ÷µÇ¾îÀÖ´Â °ÍÀÌ´Ù 
Omerta-ħ¹¬ÀÇ °èÀ²¡¯À̶ó´Â ÀåÁö¾ÆÀÇ ³× ¹ø° °³ÀÎÀüÀº ¾Ï¹¬ÀûÀ¸·Î ÇÕÀÇµÈ ±ÔÄ¢¿¡ ´ëÇÑ À̾߱âÀÌ´Ù. ÀåÁö¾Æ´Â »çȸÀû ±ÔÄ¢¿¡ ´ëÇØ ´ëÇ×ÇÏ°í °ø°³ÀûÀ¸·Î ±×°Í¿¡ ´ëÇØ ¹ß¼³ÇÑ´Ù. ±× ¿À¸Þ¸£Å¸¸¦ ±ú´Â µÎ °¡Áö ±âÁ¦´Â »çȸÀÇ ³²¼ºÀû ±ÔÀ²°ú ±Ý±â¿¡ ´ëÇÑ °ÍÀÌ´Ù. ±×³à´Â ³²ÀÚµéÀÌ ¼­¼­ ¿ÀÁÜÀ» ´«´Ù´Â ÇàÀ§¿¡ ´ëÇØ Àǹ®À» Á¦±âÇÑ´Ù. ±×°ÍÀº ´ÜÁö ³²³àÀÇ ½ÅüÀû ´Ù¸§À̶ó´Â »ç½Ç ÀÎÁ¤ÀÌ ¾Æ´Ñ, ±× Â÷ÀÌ°¡ Áö´Ñ »çȸÀû ü°è¿¡ ´ëÇÑ ¾Ï¹¬ÀûÀÎ ÇÕÀÇÀÇ ±¸Á¶¸¦ º¸¿©ÁØ´Ù. ¶ÇÇÑ ±×³à´Â ¿ÀÁÜÀÌ ºÒ°áÇÏ´Ù´Â »çȸÀû ±Ý±â¿¡ ´ëÇØ µµÀüÇÑ´Ù. ±×³à´Â ÀÌ·¸°Ô ¿©¼ºÀÌ ¼­¼­ ¿ÀÁÜÀ» ´©´Â ÇàÀ§¿¡¼­ ½ÃÀÛÇÏ¿© ¿ÀÁÜ °áÁ¤Ã¼·Î »ç¹°À» Æ¢±èÇÏ°í, ¿ÀÁÜÀ» °¡Áö°í »çÁøÀÇ Çȼ­Æ¼ºê·Î »ç¿ëÇÏ°í, ½ÉÁö¾î ¿ÀÁÜ ¿ÀºêÁ¦¸¦ ¸¸Áö°í ³î±â¸¦ ¿äûÇϱ⵵ ÇÑ´Ù. Àü½Ã¸¦ ÁغñÇϸ鼭 ±×³à°¡ óÀ½À¸·Î µé°í ¿Â ¿ÀÁÜ ¹¯Èù µå·ÎÀ× µµÈ­Áö¸¦ Èò Àå°©À» ³¢°í ³ôÀÌ µé¾úÀ» ¶§ »ç¹«½Ç¿¡ ÀÖ´Â ¸ðµç »ç¶÷µéÀÇ Ç¥Á¤ÀÌ »ý°¢³­´Ù. ÀλóÀ» ÂîǪ¸®°í ¹«¾ùÀΰ¡ Çø¿À½º·¯¿î ºÒ°áÇÔÀ» °æÇèÇÏ´Â ¼ø°£°ú ÀÛÇ°À» ÀÎÁ¤ÇÏ°í Á¸ÁßÇØÁà¾ß ÇÏ´Â ÀÔÀå »çÀÌ¿¡¼­ÀÇ °¥µîÀÇ Ç¥Á¤, ¹°·Ð ³ª ¶ÇÇÑ ±×·¯Çß´Ù. ÇÏÁö¸¸ ÀåÁö¾Æ´Â ¿ÀÁÜ ¾Õ¿¡ ´ç´çÇÏ¿´°í, ¿ÀÁÜÀÌ ºÒ°áÇÏ°í ¿ÀÁÜ¿¡ ´ëÇØ ¸»Çϱ⸦ ²¨¸®´Â °ÍÀÌ ¿ì¸®ÀÇ »çȸÀû ÀÎ½Ä ±ÔÄ¢¿¡ ÀÇÇÑ °ÍÀÓÀ» ÇൿÀ¸·Î ¸»ÇØÁÖ°í ÀÖ¾ú´Ù. ÇÏÁö¸¸ ¼ÖÁ÷ÇÏ°Ô ¸»ÇØ ÀÛ°¡°¡ ¼³Á¤ÇÑ¡®¿©ÀÚ°¡ ¼­¼­ ¿ÀÁÜÀ» ´«´Ù´Â °Í¡¯°ú¡®¿ÀÁÜ¡¯À̶ó´Â ¹è¼³¹°À» È­Àå½Ç¿¡¼­ ¹þ¾î³ª Àϻ󿡼­ °Å·ÐÇÑ´Ù´Â °ÍÀÇ Àǹ̸¦ ¿Ïº®È÷ ÀÌÇØÇÑ´Ù°í ÇÏ´õ¶óµµ ¸¹Àº »ç¶÷µéÀÌ ½ÇÁ¦·Î ¾ó±¼À» ÂîǪ¸®°Ô µÇ´Â °ÍÀº »ç½ÇÀÌ´Ù. ±×°ÍÀº ¹Ù·Î ¿ÀÁÜ Áö¸°³»¿Í ¹è¼³¹°À̶ó´Â ´Ü¾î°¡ Àΰ£ÀÇ À̼ºº¸´Ù ¸ÕÀú ½Åü¿¡ ¹ÝÀÀÇÏ´Â °ÍÀÓ¿¡ Ʋ¸²¾ø±â ¶§¹®ÀÌ´Ù. ¹°·Ð ÀÛ°¡µµ ÀÌ·¯ÇÑ °ÍµéÀ» ¾Ë°í ÀÚ½ÅÀÇ ½Åü°¡ ±×°Íµé¿¡ ¹ÝÀÀÇÔµµ ¾È´Ù.
ÇÏÁö¸¸ ¿Ö ±×³à´Â ÀÌ·¯ÇÑ »çȸÀûÀ¸·Î ÇÕÀÇµÈ ¿ÀÁÜÀ̶ó´Â ¿À¸Þ¸£Å¸¿¡ ´ëÇØ À̾߱â ÇÏ´Â °ÍÀϱî? ¹ú½áºÎÅÍ ÄÚ³¡¿¡¼­ Áö¸°³»°¡ ´À²¸Áö´Â µíÇÑ ÀÌ ¿ÀÁÜÀÌ ÀÛ°¡¿¡°Ô´Â ¿Ö Áß¿äÇÑ °ÍÀϱî? ¾Õ¼­ ¿À¸Þ¸£Å¸ÀÇ Àǹ̰¡ ¹ýÄ¢À» À¯ÁöÇÏ·Á´Â ÀÚ¿Í ±× ±ÔÄ¢À» ±ú·Á´Â ÀÚÀÇ Ãæµ¹°ú ´ë¸³À» À̾߱âÇÑ´Ù°í ÇÏ¿´´Ù. ÀåÁö¾Æ´Â Çö »çȸÀÇ ¾Ï¹¬ÀûÀÎ ±ÔÄ¢À» ±ú°í ÀåÁö¾Æ¸¸ÀÇ »õ·Î¿î ¿À¸Þ¸£Å¸¸¦ ¸¸µé¾ú´Ù. ±×°ÍÀº ¹Ù·Î ±¸Á¶ÀÇ ±Ç·Â¿¡ ´ëÇÑ °Íµµ ¾Æ´Ï°í ±Ý±â¿¡ ´ëÇÑ °Íµµ ¾Æ´Ï´Ù. Àü½ÃÀå ¾È¿¡¼­ ÀÌ·ç¾îÁö´Â ¸ðµç °ÍµéÀÌ »çȸÀûÀ¸·Î ±³À°µÇ°í °¢ÀÎµÈ °ÍÀÓÀ» °í½º¶õÈ÷ º¸¿©ÁÖ´Â ÀÌ·¯ÇÑ ´ë¸³ ±¸µµ´Â ¿©¼ºµµ ¼­¼­ ¿ÀÁÜÀ» ´­ ¼ö ÀÖ´Ù°í ¸»ÇÏ´Â °ÍÀÌ ¾Æ´Ï¶ó Â÷¶ó¸® ¿©¼ºÀº ¼­¼­ ¿ÀÁÜÀ» ´©±â Èûµé´Ù´Â °ÍÀ» º¸¿©ÁÜ¿¡ °¡±õ´Ù. ¶ÇÇÑ ¿ÀÁÜÀ̶ó´Â ¸Åü¸¦ ÅëÇÑ ³îÀÌ´Â ¿ÀÁÜÀÌ ºÒ°áÀÇ »ó¡ÀÓÀ» ´õ¿í µå·¯³ª°Ô ÇÑ´Ù. °á±¹ »çȸÀûÀ¸·Î ÇÕÀÇµÈ °Íµé¿¡ ´ëÇÑ ÀνÄÀ» ¿ä±¸ÇÏ´Â ÀÛ°¡ÀÇ ÀÛ¾÷Àº »çȸ ü°èÀÇ °¡Ä¡ÆÇ´Ü¿¡ ´ëÇÑ ÀúÇ×ÀÌ ¾Æ´Ï¶ó ¹Ý´ë·Î ±×°ÍÀÇ ÀÎÁ¤¿¡ ÀÖÀ¸¸ç, »çȸ ü°èÀÇ ÇÕÀǸ¦ À¯ÁöÇÏ´Â °ÍÀº ¹Ù·Î ¿À¸Þ¸£Å¸¸¦ ±ú´Â °Í¿¡ ÀÖ´Ù°í ¸»ÇÑ´Ù. ±ÔÄ¢À̶ó´Â °ÍÀº ±× ±ÔÄ¢À» ±ú´Â °Í¿¡ ÀÇÇؼ­ À¯ÁöµÈ´Ù. ±×°ÍÀº ±Ã±ØÀûÀ¸·Î ±Ý±â¿Í »çȸÀû ¹è¹Ý¿¡ ´ëÇÑ ±âÁØÁ¡ÀÌ ÀÖ´Ù´Â °ÍÀ» ÀνÄÇÏ°í ÀÎÁ¤ÇÑ´Ù´Â Àǹ̸¦ Áö´Ñ´Ù. ¹°·Ð ¿©±â¿¡¼­ ÀÎÁ¤ÇÑ´Ù´Â Àǹ̰¡ ±× ±¸Á¶¸¦ ´Ù¸¥ ±¸Á¶·Î ´ëüÇÑ´Ù´Â °ÍÀÌ °áÄÚ ¾Æ´Ï´Ù. ÀÎÁ¤Àº ±×·¯ÇÑ ±ÔÄ¢À̳ª ±¸Á¶ÀÇ ±âÁØÀÌ ¾îµð¿¡¼­ºÎÅÍ Ãâ¹ßÇÏ¸ç ¾îµð¿¡¼­ ³¡ÀÌ ³ª´Â°¡ ÇÏ´Â ¹üÀ§¿¡ ´ëÇÑ °ÍÀÌ´Ù. ÀÛ°¡´Â ÀÛÇ°À» ÅëÇØ Ä§¹¬ÀÇ °èÀ²À» ºÎÁ¤ÇÏ°íÀÚ ÇÏ´Â °ÍÀÌ ¾Æ´Ï¶ó °èÀ²¿¡ ´ëÇÑ ¹üÀ§¸¦ À̾߱â ÇÏ°íÀÚ ÇÏ´Â °ÍÀÌ´Ù. ¿ÀÁÜÀ» °¡Áö°í ³îÀ̸¦ ÇÏ´Â ¸ðµç °ÍµéÀÌ ±×³à°¡ »çȸ±¸Á¶ÀÇ ¹üÀ§¸¦ ÀÎÁ¤ÇÏ´Â ÀÎ½Ä Ã¼°èÀÇ ÇÑ ¹æ¹ýÀÓÀ» ³ª´Â ±×³àÀÇ ÀÛÇ°À» ÅëÇØ ´À³¥ ¼ö ÀÖ¾ú´Ù. ±×³à´Â ÀÌ·¸°Ô ü°è ¹Ù±ùÀÇ ¶Ç ´Ù¸¥ ¹üÀ§¸¦ ÀνÄÇϱâ À§ÇÑ ±âÁ¦·Î ¿À¸Þ¸£Å¸ÀÇ ¹ýÄ¢À» »ç¿ëÇÑ °ÍÀÌ´Ù. ÀÛ°¡¿¡°Ô ¿À¸Þ¸£Å¸´Â ¹Ù·Î ¹ýÄ¢À» ±ú°í ±× ¹ýÄ¢ÀÇ ¹üÀ§¸¦ ÆľÇÇÏ¿© ´Ù¸¥ ÃþÀ§ÀÇ ±ÔÀ²µéÀÌ °¡Áö´Â ÈûÀ» ºñ±³, ºÐ¼® ÇÒ ¼ö ÀÖ´Â °¡Ä¡ÆÇ´ÜÀÇ ±âÁØÁ¡ÀÌ µÇ´Â °ÍÀÌ´Ù.   
¿µÈ­¡®´ëºÎ¡¯ÀÇ ¿øÀÛ ¼Ò¼³ ÀúÀÚÀÎ ¸¶¸®¿À ǪÁ¶ (Mario Puzo)´Â ¸¶Áö¸· ÀÛÇ°À¸·Î <¿À¸Þ¸£Å¸>¸¦ ½è´Ù. ǪÁ¶´Â ¼Ò¼³¿¡¼­ °æÂûÀÌ ¸¶ÇǾƸ¦ ó´ÜÇϱâ À§ÇØ ¸¶ÇǾƸ¦ ÀÌ¿ëÇÏ´Â ÇÕ¹ý¿¡ ´ëÇØ À̾߱â ÇÑ´Ù. °á±¹ ÀÛ°¡´Â ±ÔÄ¢°ú ºñ ±ÔÄ¢ÀÇ ±âÁØÀº ¾î¶»°Ô °áÁ¤ÀÌ µÇ´Â °ÍÀΰ¡¶ó´Â µµ´öÀûÀÎ °¡Ä¡ÆÇ´Ü¿¡ ´ëÇØ ¹¯´Â´Ù. ¾Ï¹¬ÀûÀÎ ±ÔÄ¢À̶ó´Â °ÍÀÌ °á±¹ »çȸ¸¦ Áö¼Ó½ÃÄѳª°¡´Â ¼ö´ÜÀ¸·Î Àΰ£¿¡°Ô °¢ÀνÃÅ°´Â ÇϳªÀÇ ¿À¸Þ¸£Å¸ÀÎ °ÍÀÌ´Ù. »ç½Ç ¿À¸Þ¸£Å¸¶ó´Â ´Ü¾î´Â ¸¶ÇǾƵ鸸ÀÇ ¾ð¾î°¡ ¾Æ´Ñ, ¿Ü¼¼ÀÇ Ä§·«À» ¸¹ÀÌ ¹Þ¾Ò´ø °÷¿¡¼­ÀÇ µ¶¸³¿îµ¿ ÅõÀïÀ» Çϱâ À§ÇÑ ÇϳªÀÇ Àü·«Àû Àǹ̷Π»ç¿ëµÇ¾ú´Ù. ¶ÇÇÑ ¿µÈ­¡®´ëºÎ¡¯ÀÇ µîÀåÀι°ÀÌ ½ÇÁ¸ Àι°À» ¹¦»çÇÑ °ÍÀÌ ¾Æ´Ï³Ä? ¶ó´Â °Í¿¡ ´ëÇÑ ÇªÁ¶ÀÇ ´ë´äÀº ÀÏ°ö Àڳฦ ¾ïôÀ¸·Î Å°¿ö³½ °­ÀÎÇÑ ¾î¸Ó´Ï°¡ ¸ðµ¨À̾ú´Ù°í ¸»Çß´Ù. ÀÛ°¡ ÀåÁö¾Æ°¡ ³²¼ºÀû »çȸ¿Í ±Ý±âÀÇ ±ÔÄ¢¿¡ ´ëÇÑ À̾߱âÀÎ ¿À¸Þ¸£Å¸¸¦ ÅëÇØ ¿ì¸®°¡ ÀνÄÇØ¾ß ÇÒ °ÍÀº ÇöÀçÀÇ ±ÔÄ¢ÀÌ ¹Ýµå½Ã üÁ¦¸¦ À¯ÁöÇϱâ À§ÇÑ Á¤´äÀÌ ¾Æ´Ï¶ó´Â °ÍÀÌ´Ù. ±×·¸´Ù¸é ÀÌÁ¦ ±× ÀνÄÀÇ ±ÔÄ¢À» ±ú´Â °Í°ú À¯ÁöÇÏ´Â °Í »çÀÌÀÇ ¹üÀ§ ±ÔÁ¤°ú ±âÁØÁ¡À» ¾î¶»°Ô ¼³Á¤ÇÒ °ÍÀΰ¡¿¡ ´ëÇÑ ¸¹Àº °í¹ÎµéÀÌ ÇÊ¿äÇÏ´Ù. ±×·¡¼­ ¿ì¸®´Â ÀåÁö¾Æ¶ó´Â ÀÛ°¡ÀÇ ÀÛÇ°À» ÅëÇØ ±× ±âÁصéÀÌ ¾î¶»°Ô Ç¥ÇöµÇ°í ÀÖ´ÂÁö ¼¼½ÉÈ÷ »ìÆ캸¾Æ¾ß ÇÒ ÇÊ¿ä°¡ ÀÖ´Â °ÍÀÌ´Ù