한국적 뮤지컬의 21세기 전개양상: 2000년에서 2004년까지의 초연된 작품을 중심으로

Abstract

This thesis is aimed to examine how the Korean musicals were like during the early 21st century. Observation period is from 2000 to 2004, mainly focusing on the musical works, which are less commercial, performed by the musical productions that had been established before 1990. "Being a Korean musical work" means it uses a Korean traditional theme in it and expresses Korean classical story in Korean dance and music. Turning into the 21st century, using the classical themes expanded as the traditional festive performances were added to the Korean musicals and offered the audience more spectacles. Attempts for new genre included Gamuak (a genre of integrating song, dance and music), musical play, total theatre and Tori Play. Gamuak emphasized the classical dance while a plot of story was weak and the classical play employed the western classical genre actively. Tori Play created Korean-style expressions in musical, reviving Korean rhythms. Total theatre had been attempted to make theatrical level perfect, but resultingly returned to splendid and magnificent musical. The appropriateness that the Korean musical must represent 'something Korean' discouraged new attempts for artistic perfection and drove Korean musical into mannerism, which led to be one with no musical fun and attraction. As musical dram revived, it provoked controversy about commerciality and low quality, but brought a retro, the audience, and commercial success to the identity of the Koran musical. The Korean musical keeps expanding with Korean themes and musical fun, consoling and sympathizing the contemporary times.