劉三姐 이야기의 양식적 변용 특징 연구

Abstract

Story of Liusanjie, a story of Ethnic Minority group, gained countrywide popularity with its charm. Later, it transformed and adopted into various theater scenes; Starting with Caidiao Opera, Movies, Dramas, Real scene play and etc. Caidiao Opera depicts Liusanjie as a figure of persecuted lower class, reflecting current class and cultural conflict. It gained popular appeal by configuring Liusanjie as a pertinacious fighter. It pursues image of Liusanjie being a modern women in 2001 and 2010 version of the movie, focusing on independence in <New Liusanjie> and considerate and wise in <Looking for Liusanjie>. Luisanjie being a character who reflects zeitgeist of the revolution time, was welcomed by not only public but also the politics. Popularity of Liusanjie promoted its position from “Daughter of Ethnic Minority” to “Daughter of China”. Caidiao Opera was made into movies in 1960s and 1970s, in attempt to get on the bandwagon of revolutionary time. Story of Liusanjie had also been made into a very detailed long drama with additional episodes. Liusanjie in the drama is similar to the one in the movie <Looking for Liusanjie>. Adding new conflicts along with the stories that have never been mentioned in different genres made the whole story more complex and in depth. <Impression Liusanjie> which incorporates with five different colors, on the other hand, is consist of folder type texts full of signs without the actual context of the story and class conflict theme. It forces the audiences to discover meaning of the story only via the signs presented. Five different ‘impression’s links each different scenes, and leads to the author’s ultimate intent. This is a new narrative skill that can’t be found in existing current forms of Liusanjie stories, is a transformation of stories following formational characteristics of Real scene play and ‘Impression’ stagecraft. Story of Liusanjie, story of Ethnic Minority of southwest region, has become one of China's representative cultural contents through many transformations. Each different transformations seem to reflect its timeline, it could be divided into three distinctive types according to the timeframe. First timeframe, time of the movie <Liusanjie> and Caidiao Opera <Liusanjie>, took place in mid-1950s to 1960s. It’s a time when story of Liusanjie was spiced up with political factors of culture and class conflict and gain popular appeal. Second timeframe appears after long pause of the Great Cultural Revolution, being initiated between late 1970s and early 1980s with the movie <Liusanjie> by Guangxi Caidiao Opera Company in 1977 and <Liusanjie> of Wuyonggang in 1978. This was the time after the Great Cultural Revolution when cultural desires contracted during the recession pours in, the excitement hugely impacted on revised story of Liusanjie-story. The story doesn't have much difference from the prior period’s, however, it once again confirmed unchanged love of Chinese towards the story. After another vacant phase, many literacy work appears; a series book of Liusanjie in 1996, TV musical drama <Liusanjie> in 1998, and movie <New Liusanjie> in 2001 expecting another literacy peak. Story of Liusanjie reaches its peak after premiere of <Impression Liusanjie> being performed at the real-life scenery stage in a small town called Guilin Yangsuo in March 2004. In July of 2005, after 200 artists’ 3 years of work, they created Liusanjie as a new version of big dance drama spicing up with pan-flute, tap-dancing and other modern techniques and performed countrywide touring. Liusanjie in many different literal form has appeared as follow; the movie <Looking for Liusanjie> and 30 parts TV series <Liusanjie>. Third timeframe bases its background as economic growth accompanied with the Chinese reform. For this reason, combative and resolute figure of Liusanjie was replaced with beautiful and independent women of 21st along with comic and romantic atmosphere of the stories. Adjustment and reformation of Liusanjie followed by new era really enthralled the Chinese. From pertinacious Liusanjie who stands up for class and cultural conflict in the first timeframe, to symbolic figure of rebounded popular culture after longer than 10 years of cultural dark ages, and to figure of modern women who fits with economic wealth and capricious current time.