광무대의 공연 활동 연구: 1910년대 전통연희공연을 중심으로

Abstract

This paper investigated the historical flow by dividing traditional performances into 1910-1914 and 1915-1919 according to the characteristics of changes in the 1910s during the operation period of Gwangmudae, which appeared in 1907 and served as a theater dedicated to traditional performances until 1930. First of all, in order to help understand the 1910s, which is the main topic of discussion, we looked at the direction of the traditional performance aimed by Gwangmudae from 1907 to 1909. Through this, it can be seen that at the beginning of its establishment, other theaters were following the previous performance method, while Gwangmudae was leaping as a specialized theater for traditional performances, leading the box office with a change of new ideas for performers and performance repertoire. The period 1910-1914 was when traditional performances were activated, and the characteristics were identified by focusing on the major performers of the Gwangmudae and the corresponding performance repertoire. Jangansa Temple and Danseongsa Temple, which performed traditional performances during this period, organized groups by period for box office success or hired Gisaengs along with master singers to perform on the stage. However, Gwangmudae led the traditional performance to the box office by hiring a small number of exclusive Gisaengs who are versatile in traditional performances and cross-staging them according to the audience’s response to the performance event. In particular, during this period, Gwangmudae fixed its own performance method, established traditional performances as permanent performances, and firmly established its aspect as a performance hall for traditional performances. The period 1915-1919 was when the number of theaters for traditional performances gradually decreased, and we looked at the response of the Gwangmudae accordingly. During this period, Gwangmudae renewed the atmosphere of the theater by reorganizing and maintaining traditional performances and replacing only performers. Furthermore, Gwangmudae confirmed that it was silently playing its role as the only theater to defend traditional performances by responding quickly to the trend of new dramas by devising a new performance repertoire called new and old dramas.