일제강점기 극장의 전통공연물 흥행 양상

Abstract

This study examines the trends in theatrical success of traditional performances staged in theaters during the Japanese colonial period-a subject that has received limited scholarly attention. It aims to classify the types of successful programming and analyze the contextual factors behind theatrical success. The patterns of theatrical success can be categorized as follows. First, based on performance genres, programming was divided into single-genre and multi-genre formats. These distinctions were shaped by the purpose of the event, the nature of the theater, the characteristics of the organizing body, and the operational policies of theater managers. Second, in terms of organizing entities, performances were either hosted by a single organizer or jointly by multiple parties. These variations depended on the theater’s management strategy and the scale of the production. Third, regarding performance format, theaters adopted various styles including permanent repertory productions, solo recitals, and competitive showcases. The choice of format reflected the intent of theater management, the physical infrastructure, and the overall capacity of the venue. Fourth, in terms of programming structure, formats included entertainment-- oriented sequencing, bifurcated staging (introductory and concluding segments), and sectional programming. These structural differences stemmed from considerations such as audience recruitment strategies, efficiency of stage transitions, and the intended purpose of the performance. The contextual factors behind theatrical success during this period can be summarized as follows. First, the quantitative expansion and qualitative advancement of theaters created favorable conditions for traditional performances to flourish. Second, theater managers and staff demonstrated active interest and commitment to promoting traditional genres. Third, the organizational development and increased activity of traditional performance troupes facilitated sustained production through theatrical venues. Fourth, public interest and consumption of traditional music, dance, folk entertainment, and changgeuk (Korean traditional opera) continued in tandem with theatrical production. Given that theaters continue to serve as vital venues for traditional performances today, ongoing scholarly inquiry into the nature and evolution of these staged traditions remains essential.