본 연구는 스토리텔링의 편향에 관한 것이다. 선학의 성과에 기대어 스토리텔링 담론의 한계와 가치지향을 고찰함으로써 그 연구 영역의 다양화를 모색하고 스토리텔링학의 확장적 이해를 위한 시론을 마련하는 것이다. <온달전>, <어디서 무엇이 되어 다시 만나랴>, 런닝맨의 <바보온달과 평강공주> 등의 온달스토리텔링을 대상으로 하여 통시적으로 살폈다. 먼저, 스토리텔링의 기법에 있어서는 생산자 중심의 ‘이야기 요소’로 국한한 논의가 많았다. 그러나 온달스토리텔링은 이야기 요소뿐만 아니라 제시형식의 특성과 향유자와의 인터렉티브 스토리에 대한 논의가 필요함을 보여주었다. 스토리텔링의 기법에 관한 향유자 교육이 따라야 함도 물론이다. 다음으로 스토리텔링의 개념은 디지털 기술의 혁신으로 재개념화되고 있으나 ‘화술’로 제한 받는 것도 사실이다. 각각의 온달스토리텔링은 ‘화술’과‘텍스트’, ‘작술법’의 층위의 것이었으며 이로써 현재 파생되는 스토리텔링현상들을 아우를 수 있음을 확인하였다. 마지막으로 디지털스토리텔링의 급격한 증가로 스토리텔링의 소구력이 흥행이라는 시장성으로 제한되고 있는데 온달스토리텔링은 다양한 소구력을 보여 주었다. 스토리텔링의 지속가능한 발전과 학문적 성장을 위해서는 소구력의 의미를 사회적 기능(신화적 기능)의 통합성, 심미적 인식적 기능의 예술성, 유희적 기능의 시장성으로 폭넓 이해할 필요가 있었다.
Storytelling is an ``activity,`` a ``skill,`` and the ``contents`` itself that strategically delivers stories based on the elements and values of a story. However, in terms of understanding the ``story`` or in approach towards ``telling`` or in discussion of the results, inclination of schematization and uniformization are spotted. When bias is examined using ``Ondal`` storytelling as the primary source, firstly, in terms of storytelling techniques, it is too concentrated on the ``story elements that are centered around the producers (story value, character, location, plot).`` Unlike and , of TV digital storytelling showed meta-aspect due to confusion of actors and characters as a result of appearance of six Ondal and Princess Pyeong-Gang each, double consumers named producers and the audience. Thus, the activities and participation of the audience compose as significant portion of storytelling as the producers of stories do. Therefore, the storytelling technique not only covers the elements of stories but also the ``telling`` through things such as tool(media) and sharing values, and this must be considered in terms of audience as well. Secondly, for the existing storytelling discourse, its levels of meaning are biased to ``speech.`` As the contents of Ondal story show, storytelling not only includes speech but also composition method, and the text aspect. While was what had been passed down through speech written down on paper, for , the formation in which how the story will be projected on the stage is significant. Thus, the audience must read by filling up the holes by participating in composition method related to visualization of the story. requires the audience to practice meta-reading that accepts the meaning in multiple levels such as acting skills of the actors, their characters, and subtitles of the producers. Lastly, in evaluating storytelling, the appealing power is often limited to the market value and its appeal to the mass or the size of the mass. However, it was confirmed that Ondal Storytelling possesses a variety of different appealing power for each levels of meaning from speech, stage types, and to interactive structure of digital TV. The social appealing power of is outstanding since it was published on the textbook, and is an appealing power of aesthetic and perceptive value that gains insight on life through poetic stage and the concept of reincarnation. Also, like , when Ondal storytelling is put on top of the format of existing program ``Running Man,`` the appealing power of the program format which is based on the team competition is larger than that of the Ondal story. After all, it contained the elements of discourse other than the elements of a story and there is a need to newly illuminate the ``elements of storytelling,`` and besides creation of contents, studies on storytelling that promote educational understanding for the audience are demanded. Thus, the value and the influence of storytelling will be enhanced, and the Homonarrans`` aspect of the mankind will be able to be explained.
