일제강점기 기록을 통해 본 춘앵전의 역사성
A Study on the Record and History of Chunaengjeon(春鶯) in the Japanese Colonial Period
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The aim of this study is to investigate the process performing Chunaengjeon (春鶯), Dance of the Spring Oriole) from historical viewpoint. The core of history is the change. Therefore this study will focus on the change following the period, space of the performance, and dancers. The scope of time period for this research in the Japanese Colonial Period, and the research objectives are Joseon aak(朝鮮雅·), Joseon miin bogam(朝鮮美人寶鑑), modern newspaper, and magazine. The first performance of Chunaengjeon in 1828 June 1st. King Sunjo’ son, Hyomyeongseja had created the Chunaengjeon musical texts called as akjang. The place for performance was the Yeonggyeongdang(演慶堂) and the dancer was a boy called as mudong(舞童), Hyeong-Sik Kim(金亨植). Yeonggyeongdang Jinjak which introduced new nineteen items of jeongjae has omitted ceremony, and had less people invited with less political intention relatively. Chunaengjeon performed by female dancers called as gisaeng(妓生) during Japanese Colonial Period(1945). After the female dancers belonged to the Royal Palace had been dissolved in 1908, than the dancers belonged to gisaengjohap(妓生 組合)or gweonbeon(券番) and performed the Chunaengjeon. The performance places were various such as restaurant, playground, etc. Consequently met the spectator who is various. Gisaeng learned Chunaengjeon form the teacher in the Yiwangjik Aakbu(ｷ王職雅ｷ部). Until 1945, Chunaengjeon had been popular and represented traditional dance. Chunaengjeon performed by mudong during Japanese Colonial Period(1945). Mudong’ Chunaengjeon had been performed two times from the royal palace in 1923 and 1930.
Abstract
The aim of this study is to investigate the process performing Chunaengjeon (春鶯), Dance of the Spring Oriole) from historical viewpoint. The core of history is the change. Therefore this study will focus on the change following the period, space of the performance, and dancers. The scope of time period for this research in the Japanese Colonial Period, and the research objectives are Joseon aak(朝鮮雅·), Joseon miin bogam(朝鮮美人寶鑑), modern newspaper, and magazine. The first performance of Chunaengjeon in 1828 June 1st. King Sunjo’ son, Hyomyeongseja had created the Chunaengjeon musical texts called as akjang. The place for performance was the Yeonggyeongdang(演慶堂) and the dancer was a boy called as mudong(舞童), Hyeong-Sik Kim(金亨植). Yeonggyeongdang Jinjak which introduced new nineteen items of jeongjae has omitted ceremony, and had less people invited with less political intention relatively. Chunaengjeon performed by female dancers called as gisaeng(妓生) during Japanese Colonial Period(1945). After the female dancers belonged to the Royal Palace had been dissolved in 1908, than the dancers belonged to gisaengjohap(妓生 組合)or gweonbeon(券番) and performed the Chunaengjeon. The performance places were various such as restaurant, playground, etc. Consequently met the spectator who is various. Gisaeng learned Chunaengjeon form the teacher in the Yiwangjik Aakbu(ｷ王職雅ｷ部). Until 1945, Chunaengjeon had been popular and represented traditional dance. Chunaengjeon performed by mudong during Japanese Colonial Period(1945). Mudong’ Chunaengjeon had been performed two times from the royal palace in 1923 and 1930.
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