연극 <전쟁터를 훔친 여인들>의 서사 구조와 극음악의 상호작용

Abstract

Women Who Stole the Battlefield is a verse drama. Verse is better than prose at delivering figures of speech and creating rhythm with its poetic words that involve symbols and metaphors. Play writer Kim Ji-hun, who is also a poet, is good at writing lines that successfully convey figures of speech. Composer and music director Hwang Gang-rok, who is a poet as well, is well aware that when figures of speech are delivered through actors' words, the effect of an auditory image can be maximized. The music of Women Who Stole the Battlefield shows a permanent and universal color that transcends time and place through the live performance of traditional music instruments of various countries in the world so that the symbols and metaphors contained in the narrative structure are well-received by any generation and any place. The performance of instruments is also based not on the technique of the original countries but on a new, different technique, thereby conveying a new timber. As for the instrument performance for each scene, the number, volume and chord of instruments are decreased and the timber, noise and harmonic tone are properly arranged so that lines (rhyme) flow consistently and grippingly. Individual sounds of instruments are mixed in various ways for the whole sound to be delivered with a blank space and moderation. In the play, a total of 47 musical instruments describe 104 scenes in total. A stage director, composer and music director focus on timber to organically deliver action and instrumental performance. Dramatic techniques, including cut-in, cut-out, fade-in and fade-out, employed for the synesthetic expression of an auditory image, strengthen a visual image of each scene and an auditory image of each line. The music in the play serves six functions as follows: ⅰ) background music, ⅱ) sound effect, ⅲ) psychological description, ⅳ) the build-up of tension, ⅴ) scene change and ⅵ) conveying a unifying theme. And the interaction between narrative structure and drama music serves functions as follows: ⅰ) maximizing the effect of an auditory image, ⅱ) strengthening the effect of minimalism, ⅲ) juxtaposing acting and musical performance, ⅳ) striking a balance between narration and symbolism.