셰익스피어 노래하다!—국내외 셰익스피어 뮤지컬 공연에 대한 통시적 고찰과 문화적 전망
Shakespeare Sings!: A Diachronic Study on Musical Renderings of Shakespeare’s Plays and Their Cultural Outlook In and Out of Korea
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Shakespeare took on a new disguise in the twentieth century in and out of Korea. He sang and danced and helped to shape American musical theater on the Broadway stages, which dominantly flexed its muscle over European and Asian stages. During the twentieth century, a growing new genre, adaptations of Shakespeare's plays incorporating techniques from the musicals provided us a new possible themes and messages that can be applicable to our time. Five of Shakespeare's plays were particularly conducive to this new form and successfully made the transfer: Boys from Syracuse grew out of The Comedy Errors; Kiss Me, Kate owed its origin to The Taming of the Shrew; West Side Story evolved from Romeo and Juliet; Your Own Thing transformed Twelfth Night; and Two Gentlemen of Verona metamorphosed into a rock musical. In Korea, the last decade of the twentieth century provided a rich revival for the Shakespeare musical genre, covering from the production of The Tempest and Rock Hamlet in 1999 to King Uru, a Koreanized musical rendering of King Lear in 2000 to Club Sibiya (Twelfth Night) in 2010. Many artistic and cultural elements contributed to this kind of renaissance, from the rise of many local musical companies to a less political climate that welcomed a rash of musicals including creative productions and imported ones. Given the fact that musicals are far more appealing to today's audience than traditional authentic theater in terms of entertainment and amusement, it is possible to argue that they will continue to enjoy the expected future of commercial and artistic success. Now it is high time for our Korean theater to create more indigenous forms of Shakespearean musicals that possibly reflect and contain our present ways of life and various shapes of traditional cultures.
Abstract
Shakespeare took on a new disguise in the twentieth century in and out of Korea. He sang and danced and helped to shape American musical theater on the Broadway stages, which dominantly flexed its muscle over European and Asian stages. During the twentieth century, a growing new genre, adaptations of Shakespeare's plays incorporating techniques from the musicals provided us a new possible themes and messages that can be applicable to our time. Five of Shakespeare's plays were particularly conducive to this new form and successfully made the transfer: Boys from Syracuse grew out of The Comedy Errors; Kiss Me, Kate owed its origin to The Taming of the Shrew; West Side Story evolved from Romeo and Juliet; Your Own Thing transformed Twelfth Night; and Two Gentlemen of Verona metamorphosed into a rock musical. In Korea, the last decade of the twentieth century provided a rich revival for the Shakespeare musical genre, covering from the production of The Tempest and Rock Hamlet in 1999 to King Uru, a Koreanized musical rendering of King Lear in 2000 to Club Sibiya (Twelfth Night) in 2010. Many artistic and cultural elements contributed to this kind of renaissance, from the rise of many local musical companies to a less political climate that welcomed a rash of musicals including creative productions and imported ones. Given the fact that musicals are far more appealing to today's audience than traditional authentic theater in terms of entertainment and amusement, it is possible to argue that they will continue to enjoy the expected future of commercial and artistic success. Now it is high time for our Korean theater to create more indigenous forms of Shakespearean musicals that possibly reflect and contain our present ways of life and various shapes of traditional cultures.
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