창극공연에서의 젠더 구현과 그 의의 -국립창극단의 <내 이름은 오동구>(2013)와 여성국극 <변칙 판타지>(2016)를 중심으로

Abstract

The purpose of this article is to examine My name is Oh Dong-gu (2013) and anomalous fantasy (2016), both of which are changgeuk performances which encourage viewers to engage in self-examination about patriarchal and hetero-erotic ideas using gender theory. Anomalous fantasy was a synthesized stage performane and expression of the new form of yeoseonggukkeuk (Korean women’s opera). Although it is stylistically different from My name is Oh Dong-gu, the two performances were directed as fantasies with similary main ideas. This article used a gender theory methodology, examined Butler’s and Gale’s arguments and discussed the importance of cultural constructionism. Through this analysis, in My name is Oh Dong-gu, I found that trans-gender Dong-gu’s fantasy arose from his depression and carried with it a sense of resistance of social taboos. In anomalous fantasy, I found that fantasy was embodied in the dancing and singing of the song “Congratulations” at the end of the queer festival. I discussed how this performance that matched the mood of the fantastic festival helped them to overcome the pain of reality. I also concluded that the lesbians’ love was lust and that the penis castration fantasy cited by reference of Teresa de Lauretis was meaningful. This article examined how these productions musically embodied gender consciousness and found that they highlighted social boundaries, helping to raise public awareness about these issues. These productions expressed their ideas well and added a new dimension to gender consciousness.