공포의 스펙터클- 빅토리아 시대를 향한 뮤지컬의 동경 <지킬 앤 하이드>, <스위니 토드>, <잭 더리퍼>를 중심으로 -

Abstract

This paper starts by capturing the motion of repertory expansion in the Koreanmusical market. The rapid expansion of mystery and thriller musicals is enoughto receive positive praise in terms of development of new repertory after 2010. In this respect, this paper analyzes the appeal of musicals set in the VictorianAge along with the origin of the texts from a literature perspective. The threeobject texts foreground murder and madness and imbue an ideology of classconsciousness and sexuality based on the opinions of the Victorian Age. Thebehavior patterns of Hyde, Todd, and Jack/Daniel are so outside the realm ofreality that they could all be said to be mad. Their unexpected behavior patternscreate an atmosphere of horror. In particular, their characters and the plots evokea two-fold feeling of horror which rouses between reality and fantasy due to thepublic belief that these musicals are or could be based on actual events. Therefore, the primary fascination point of musicals dealing with the VictorianAge could be ‘horror.’ However, this characteristic is also described as ‘romance’when shown on the actual stage. Most Korean audiences follow the reproductionmethod of romantic trends, and the romantic aspects of these musicals fascinatesmore when it is ‘exotically romantic.’ While “London in 1888, there was aromance” is the main copy of Jack the Ripper, these words don’t seem to berelevant to the story. However, these words are used to romanticize London inthe Victorian Age and arouse ‘imagined exoticism.’ Horror and romance are thetwo main factors used for communication between musicals set in the VictorianAge and Korean audiences.