여성 고난 대목을 통한 여창 판소리의 여성성 구현- 춘향가 중 <십장가>, <옥중가>를 중심으로-

Abstract

Women's hardships are a powerful manifestation of women's contradictions, and women play a key role in "Chunhyangga," the main body of the narrative. In this study, we looked at how the female intestines wanted to embody the "women's hardships," a key point as a speaker with the same gender as the narrative. Comparing the lylics, the female intestines put emphasis on expressing the inner world of Chunhyang, emphasizing 'frostiness', and the expression of strong resistance to contradictions was not noticeable. Rather, male singers showed strong expressions of resistance to Chunhyang. As such, female singers have reduced the meaning of resistance and tried to express " lyricism" with emphasis on music. Especially in "Sipjangga", female intestines tend to omit the passage of resistance. In the case of "Okjunga," female intestines sang all of them in slow Jinyang rhythm and geomyeonjo, strengthening lyricism. It also appears to use a number of slow-breathing running Gyodaejuk to avoid disrupting the smooth flow of the melody. Although female intestines were geners like Chunhyang, Chunhyang's lack of strong expression of the social desecration points revealed was related to the traditional women's image that emerged in the 1930s when the release of meteoric albums was active. The ideal woman image at this time was passive and 'mild woman who misses the person', so the female intestines embody their 'femininity' by reducing the editorials of resistance and highlighting lyricism. This study is an attempt to expand Pansori's gender research to musical embodiment, which had only stayed on the editorial side. Through this, it was confirmed that female intestines also wanted to musically implement "femininity" that is socially granted to "women."