1950년대 여성국극에 참여한 여성들의 판소리-여성국극 인식과 구도

Abstract

This article examines how the perceptions of p'ansori and Female kukkŭk by three groups of women who participated in Female kukkŭk in the 1950s influenced the formation of p'ansori and Female kukkŭk in the 1960s, when p'ansori was incorporated into the intangible cultural property system, and the formation of the p'ansori and Female kukkŭk categories of 'male-authentic-p'ansori/mixed-gender ch'anggŭk' and 'female-variant-Female kukkŭk' became more prominent. The groups of women who participated in Female kukkŭk in the 1950s and their perceptions of p'ansori and Female kukkŭk were as follows: First, there was the group of professional p'ansori singers with roots in p'ansori, such as Kim So-hŭi, Pak Gwi-hŭi, Pak Rok-ju, and Pak Ch'o-wŏl. Since they already had a strong position in the field of p'ansori, the music of Female kukkŭk was also based entirely on p'ansori. Second, there were professional p'ansori singers who also had their roots in p'ansori, such as Cho Nong-ok, Im Ch'un-aeng, and Im Yu-ang, who did not have the same established position in the p'ansori field as the first group. While the first group of women established the initial form of Female kukkŭk based on p'ansori, the second group of women had more freedom to change or build new forms of Female kukkŭk. Third, there was a group of women who did not learn p'ansori before joining Female kukkŭk, including actresses from the new theatre. Kim Jin-jin, Kim Kyung-soo, Kim Hye-ri, Cho Yŏng-suk, and others were either descendants of famous p'ansori master singer families but did not have the opportunity to learn the “father's” world of p'ansori or deliberately rejected it. For the first group of women, p'ansori, as the sound of their “father's” world, was the centerpiece of Female kukkŭk; for the second group of women, p'ansori was one of the various foundations that constituted Female kukkŭk; and for the third group of women, p'ansori was closely related to Female kukkŭk but was distinctly separate. In 1955, the Hwarang Female kukkŭk Troupe, organized by representatives of the first group, aimed to present an “authentic” Female kukkŭk centered on p'ansori. However, this internal “classification” within Female kukkŭk had a similar tone to that of male p'ansori singers or the authority of cultural heritage, and as a result, contrary to its original intentions, it ultimately reinforced the paradigm of 'male-authentic- p'ansori/mixed-gender ch'anggŭk' and 'female-variant-Female kukkŭk' in the 1960s. The voices of women from the second or third groups, whose contact with p'ansori was limited or non-existent, were insufficient to deny or change the existing structure, and even the acknowledgment of their differences became a way to solidify the existing structure.