판소리창본의 공연문화콘텐츠적 성격

Abstract

This study focuses on the characteristics of Pansori Changbon in terms of performance culture content. Namely, Pansori Changbon is a sort of culture content which was developed for the purpose of Pansori performance by Pansori performer. Therefore, the functional awakening of Pansori performance and the meaning endowment of culture content development are methods through which the performer perceives the value of paradigm in Pansori and express what he/she realized from the issue as the Pansori Changbon. 1) Pansori is a cultural resource and culture content is a possibility figure of Pansori culture resource. The Pansori performance based on the Pansori Changbon is the way on which the Pansori culture resource is developed into the performance culture content in terms of the cultural industralization of contents. The cultural industralization can be considered as another milestone to follow by which the Pansori culture resource should progress with culture contents in the 21st century of cultural era. 2) In regard to the device through which a person has a conflict/confrontation against a person, Chunhyang-ga Changbon shows that conflict becomes severe through conversations between Chunhyang and Byeon Hak-do, and settled through conversations between Chunghyang and Lee Doryeong. In Shimcheong-ga Changbon, the conflict increases through conversations between Shimcheong and Shim Bongsa and Shimcheong's monologs, unraveled via Shimcheong's conversations with Shim Bongsa. For Heungbo-ga Changbon, conversations between Heungbo and Nolbo stir up conflict (including Heungbo's monolog), and their talks resolve the standoff between them. In case of Sugoong-ga Changbon, conversations between the hare and the turtle and between the hare and the king of sea intensify conflict, and the hare and the king's dialogs soothe conflict. Jeokbyeok-ga Changbon presents that, even if conversations between Jojo and Yubok and between soldiers trigger a soldier's conflict, conversations between Unjang and Jojo settle the conflict. 3-1) In Pansori performance, Kim, Yeonsu succeeded to Shin, Jaehyo in 'adaptation spirit of the Pansori article', and Oh, Jeongsook took over Kim, Yeonsu's 'drama spirit of the Pansori performance,' and, in viewpoint, there are some relations established among Shin, Jaehyo, Kim, Heonsu and Oh, Jeongsook. Furthermore, the periodic features of Pansori Changbon become mentioned. In detail, ① conflict becomes intensified and settled in Shinjaehyo-Bon in the mid-19th century's edition. Shin, Jaehyo composed that the narrator praises Chunhyang's mother, and Chunhyang's mother does not defend Byeon Satto. In adapatation of the previous Pansori, the performer asks the effect of adaptation to audience in 'performance situation.' ② Kimyeonsu-Changbon of the 20th century intensifies conflict and eases it. However, Kim, Yeonsu, in contrast to Shin, Jaehyo, made the performer adapt the way in which he/she boasts of Chunhyang's mother into the way in which Chunhyang's mother boats of herself directly, and change the situation in which Chunhyang's mother does not defend Byeon Satto into the situation in which she defends Byeon Satto. If the drama situation is required, he repeatedly uses idioms. In addition, ③ Ohjeongsuk-Changbon of late in the 20th century, conflict becomes deepened and solved. However, Oh, Jeongsuk, on the contrary to Shin and Kim, evades repetitive use of idioms even in the requirement by the drama situation, even though the situation is the same as Kim in that the narrator makes his/her exit. 3-2) In Pansori Changbong, the fonclict intensification and the conflict settlement function was focused by the Pansori performer in the drama situation. This relates to the realization of 'the drama spirit' through dramatic irony. It is because 'characteristics of Pansori Changbon as a scenario' are changed into the settlement of conflict through social laughter. Moreover, In Pansori Changbon, the Pansori performer calls audience's attention to the narrator's withdrawing and using idioms in the performance. This relates to the fact that Pansori Changbon contains 'dramatic irony.' It is because 'the cultural characteristics of Pansori' are graded up to the upper class.