A Study of the Diaspora Problem in Japanese and Korean Performing Arts Based on Joseon Tongsinsa 朝鮮通信使: Focusing on Cross-Cultural Examination of Musical Tsubame つばぬ (2002) and Changgeuk Jebi 春燕 (2004)
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This article is a study on Warabi-za’s Musical Tsubame つばぬ and Korean Changgeuk Company's changgeuk Jebi 春燕 based on Joseon tongsinsa 朝鮮通信使 (Korean delegation) with the theory of cultural translation. Changgeuk Jebi is a recreation of musical Tsubame. Korean director and composer translated Tsubame into Korean performing arts changgeuk. Both performances dramatized the story of Joseon woman who lived in Japan, but it was found that the tragic emotion of main characters has been more emphasized as it was culturally translated into Korean changgeuk Jebi. And this paper analyzes this transformation with a diasporic discourse. In the process of the study, this paper examined similarities and differences between two shows focusing on their structure, stage space, bodies of singers on stage and audiences’ response of East and West using cross-cultural methodology. As a result, it was found that Tsubame showed a self-reflective attitude on Japanese militarism but still maintained Japanese chauvinist way of thinking. On the other hand, Jebi asserted Joseon woman as diaspora with empathy not only to criticize Japanese invasion but also to console victims of war with Korean traditional ritual. It had a great effect on Korean, Japanese, and German audiences and helped them to realize the violence of militarism and self-examine the ordeals of Korean history depicted through Korean traditional ritual arts. Therefore this article commented that Jebi accomplished “glocalization” by embracing Japanese culture on stage and expressing awareness against recurrent wars and diaspora.
Abstract
This article is a study on Warabi-za’s Musical Tsubame つばぬ and Korean Changgeuk Company's changgeuk Jebi 春燕 based on Joseon tongsinsa 朝鮮通信使 (Korean delegation) with the theory of cultural translation. Changgeuk Jebi is a recreation of musical Tsubame. Korean director and composer translated Tsubame into Korean performing arts changgeuk. Both performances dramatized the story of Joseon woman who lived in Japan, but it was found that the tragic emotion of main characters has been more emphasized as it was culturally translated into Korean changgeuk Jebi. And this paper analyzes this transformation with a diasporic discourse. In the process of the study, this paper examined similarities and differences between two shows focusing on their structure, stage space, bodies of singers on stage and audiences’ response of East and West using cross-cultural methodology. As a result, it was found that Tsubame showed a self-reflective attitude on Japanese militarism but still maintained Japanese chauvinist way of thinking. On the other hand, Jebi asserted Joseon woman as diaspora with empathy not only to criticize Japanese invasion but also to console victims of war with Korean traditional ritual. It had a great effect on Korean, Japanese, and German audiences and helped them to realize the violence of militarism and self-examine the ordeals of Korean history depicted through Korean traditional ritual arts. Therefore this article commented that Jebi accomplished “glocalization” by embracing Japanese culture on stage and expressing awareness against recurrent wars and diaspora.
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