1910년대 극장에서 공연된 다동기생조합의 정재 창사 고찰 ―『이계향 홀기』의 <연백복지무>와 <헌천화무>를 중심으로―

Abstract

This paper examines the articles related to the theater performance of the Union of Dadong female entertainers in the 1910s, introduces the creation of <演百福之舞> and <獻天花舞> performed at Dansungsa (團成社) and the Josungwan (朝鮮館), and examines the characteristics of the Union of Dadong’s female entertainer court song lyrics performed in theaters in the early 20th century. The female entertainers usually played Jeongjae (呈才), and it was actively held under the name of a charity concert between 1913 and 1917, mostly successful. Through the performance, the union prepared expenses, and the female entertainers built a reputation as artists, and in the process, Jeongjae (呈才), which was enjoyed mainly by the royal family in the past, became a popular culture. The Union of Gwanggyo and the Union of Dadong formed in 1913, were similar in that they mainly performed Jeongjae(呈才), but showed differences in artistic style. While the Union of Gwanggyo tried to reproduce the old style as it is, the Union od Dadong always pursued newness and transformed parts of dance, melody, and lyrics. <Yeonbaekbokjimu (演百福之舞)> of the Union of Dadong which was performed in the Dansungsa (團成社) in the 1914 deleted the vocabulary related to King, and highlighted themselves as performers. <Huncheonhwamu (獻天花舞)> which was performed in the Josungwan (朝鮮館) in the 1915 emphasized Daokjeong (茶屋町), where the Union of Dadong was located. This seems to be a strategic choice that accepts the demands of the audience of the time, while Jeongjae, whose success has been verified during the period of popular culture formation, is the main performance event. Their awareness as artists was further strengthened in the 1920s. Although it succeeded in attracting audiences in the 1910s with this strategy, the distorted perception of reality that recognizes the times as peaceful is the limitation of Jeongjae of this period.