조선 漢文劇本의 筆寫體制와 장르 특성

Abstract

The three types of Chosŏn's Classical Chinese Drama include, Dongsanggi, Buksanggi, and Baiksanglugi, which were adopted from the Chinese Drama formation. Chinese Drama is composed of three elements, that are songs, movements, and dialogues. Such three elements are clearly distinguished by using signs or differentiated forms of letters, in the printed versions and the scripts. Also in the case of the scripts of Chosŏn Classical Chinese Drama, it is unproblematic to distinguish among the three elements, however, its movements and dialogues are rich in non-dramatic colors. Descriptive and narrative motion directives and dialogues reflect the literary situation of Chosŏn, where Drama Art was undeveloped. That is, it appears to be a phenomenon caused by the inability to stage the performance. In Baiksanglugi, there are critical remarks mixed in between the textual contexts of the drama. This follows the system of Diliucaizishu Xixiangji of Jin Shengtan, where some of the critical remarks replace the functions of the text and convey the situation of the drama instead. In addition, the author of the general review(總評), which follows after each act, is the also the author of Baiksanglugi. Considering such aspects, it can be assumed that Baiksanglugi's texts and general review are both written by the same author. Through combining its role also as a narrator, the playwright freely goes in and out of the drama and delivers contents of the work to the readers(audience). Therefore, all the Classical Chinese Drama of Chosŏn are basically dramas that presuppose stage performance, but are those which also possess the character of a novel or a storytelling genre that are not staged in reality. Moreover, the harmony of text and critical remarks of the work can be settled in as a new method for creating a piece of work.