반도가극단의 후기 가극 연구 - <숙향전>의 극작전략을 중심으로

Abstract

Akgŭk has been on stage from the 1920s to the mid-50s in many different forms. Among them akgŭks based on ancient tales were mainly created by Lamila gagŭk-dan and Bando gagŭk-dan from the 1940s. Until now, Lamila and Bando gagŭk-dans were discussed along with each other by reason of the same creators in the initial period. Also, gagŭks based on ancient tales (hyangto gagŭk) have been studied limitedly focused on works of Seo Hang-suk and Ahn Ki-Young. However, Bando gagŭk-dan has a longer history than Lamila, and its creators have been replaced continuously. Accordingly, Bando gagŭk-dan and gagŭks based on ancient tales (hyangto gagŭk) can be said that they haven’t been fully researched. Newly discovered Bando gagŭk-dan’s works are expected to fill those gaps in drama studies. The dramaturgy captured in Sukhyangjeon (written by Yun Ja-hyeok, composed by Hyung Seok-gi, 1948) can be summarized as follows. First, it employed the basic storyline from the tale yet added new characters and incidents, so that the melodramatic elements and villains can be highlighted. Second, comic or action scenes irrelevant to the plot were inserted. Last, songs were inserted at the beginning and the end of each act, and this made it a typical form of akgŭk. Songs summarized themes, functioned as background music, and exposed one’s feeling. Characterfully, Sukhyangjeon, Bando gagŭk-dan’s work in its latter period had actions scenes, fancy stage settings, showy songs and dances, large scale of crowds and historical settings beside Choseon period. In other words, works of Bando gagŭk-dan in its latter period strategically arranged various elements to attract the audience and rejected emphasizing ‘ethnicity’ and ‘traditionality’ which were creative principles of hyangto gagŭk. The influence of such characteristics are found in other music dramas in the 1950s based on classics (akgŭk and female gukgŭk) as well.