‘창우(倡優)’의 레퍼토리 창극(倡劇)에서 ‘판소리’ 중심 창극(唱劇)으로의 전환

Abstract

In the 1900s, a new form emerged in Korean performing arts history: Changgeuk. The emergence of Changgeuk has the special circumstance that, first, it was established as another past or “tradition” not long after its appearance, and second, it did not appear under the name “Changgeuk” from the beginning. With regard to the identity of the term “Changgeuk,” this paper focuses on the “Changgeukjo” that preceded “Changgeuk,” and the “Changgeukjo” that existed before it. The word “chang” in “Changgeukjo” advocated by Lee Ki-se refers to a clown. Kim Chang-hwan, a first-class changbu, and his juniors Kang Yong-hwan and Yeom Deok-jun, who are considered to be the most prominent figures who contributed to the formation of the early Changgeuk style in the 1900s, are the descendants of the “changwu” group and were called “changwu” until their time. Kang Yong-hwan, who is especially known for his contributions to the Changgeuk Chunhyangjeon and The Silver World, was born into a a hereditary family of artists in the Muan region and was also a master singer from Jaeincheong. The Jaeincheong tradition of wuhee, or yuhee, also had a significant influence on pansori performance, which would naturally have expanded into Changgeuk. In fact, Improved Chunhyangga, or Chunhyangjeon, Changgeuk staged at the time of the 1915 Joseon Corporation Gongjinhoe, seems to have been a comedic performance with enhanced humor and wit, and the emphasis on popularity and comedy with the addition of wit is a major feature of Kang Yong-hwan's composition of Changgeuk. From this, it can be confirmed that the early Changgeuk had an identity close to Changgeuk as a repertoire of “changwu”. On the other hand, in the period around 1900, there were “modern” attempts in Korea, China, and Japan to change the content and form of their traditional performances by recognizing them as objects of improvement. Of course, woohee and yoohee, the main performing arts of Jaeincheong that influenced the formation of the Changgeuk style, were also basically contemporary or topical. However, there may have been some external influences that caused people who had already been performing Changgeuk based on traditional pansori narratives such as Chunhyangga and Simcheongga for many years to suddenly change their repertoire through The Silver World, which is based on a contemporary story. In this paper, the situation was identified by focusing on the possibility that among China's changhee, “Fashion New Drama,” which was popular from the late 19th century to around 1910, influenced the formation of Changgeuk The Silver World. First of all, the demand for new reforms in the repertoire was also faced by Changgeuk in the early 1900s, and there are similarities in the way that the works depicted government corruption and served to arouse public sentiment, as well as in the way that the role of the spear was reduced and changed. And if the reality of the “makpyoje play” in Chinese Hwa-drama at the same time is substituted for the formation of Changgeuk The Silver World, the roles of changwoo, including Kang Yong-hwan, should be re-established as co-creators beyond actors who act and speak depending on the role. Also, the fact that in the repertoire of the Gyeongseong Gupa Actors' Union at the time of the 1915 Joseon Production Company, Changgeuk influenced by Chinese changhui, or plays, and new Changgeuk that departed from the narrative of the traditional pansori twelve bases were performed relatively frequently, Once again, this shows that early Changgeuk was closer to Changgeuk, which was concerned with the “what” or “how” of performance and centered its weight on pansori, than to Changgeuk, which was concerned with the “who” of performance and centered its weight on changwu. However, as can be seen from Lee Dong-baek's response to Park Wol-jung's Changgeuk Danjong-aegok, the 1930s was a time when interest in “chang” as pansori music grew much more than changwoo taking the lead and creating a new Changgeuk through joint creation. Along with the activities of the Korean Vocal Music Research Society in the 1930s, the identity of pansori gradually shifted toward pansori-like singing[唱], and it became the center of the style. Changgeuk became only Changgeuk(唱劇), and no longer Changgeuk(倡劇).