기생에서 ‘여배우’로(Ⅱ) : 1910년대 기생조직의 창극 공연과 대구기생 김남수의 창극 활동 연구

Abstract

This paper examines the background and the meaning of the appearance of female performers with the origin of authentic Gisaeng, focusing on Changgeuk activities of Dadong-Gisaeng union, Hannam-Gwonbeon, and Namsu Kim in the 1910s. Namsu Kim, born in 1890 at Daegu, a master ofSeungmu, Namdo-Jabga, and also Dan-ga, led the Yeongnam-Gisaengs' performance of Changgeuk at Dadong-Gisaeng union. She was widely known as 'Gisaeng-actress,' organizing Changgeuk performance as the director of Hannam-Gwonbeon and acting as a male role in the initial stage. The activities of Yeongnam-Gisaengs' Changgeuk performance started with the performance of Chunghyang-ga in 1914, and became to seek higher quality through the cooperation of Gyeongseong old school actress union from Chunghyang-ga, a Changgeuk watched by Sungjong in 1915. This paper surveys the difference and conflict between Seodo(Western province) Gisaeng and Namdo(Southern province) Gisaeng, innovations of Dadong-Gisaeng union's Changgeuk performance mainly driven by Yeongnam-Gisaeng, and Changgeuk performances fully-fledged by performing Guwunmong-yeonui, Mongjung-ga, and Chunhyang-yeonui after the foundation of Hannam-Gwonbeon. In so doing, this paper analyzes the development of Changgeuk performance through Gisaeng organizations from mid to late-1910s, and also modern Changgeuk's history of late-1910s when female artists who tried to become Changgeuk actresses throwing away the 'tone of Gisaeng' appeared. Yeongnam-Gisaeng, who had a strong point in Pansori from their origin, progressed the activity of Changgeuk in earnest in the mid and late-1910s. They banded together with a professional old school theatrical organization of the 1910s based on the pride of their show watched by the king. The acting of Namsu Kim faced criticism as 'shameful conduct and unpardonable deviation of Gisaeng' from the view of male authority of the colony who forced 'the tone of Gisaeng,' but finally stood high in estimation as the 'Gisaeng-actress' who represented Changgeuk of the 1910s with her activities, not as just a 'Gisaeng.' Gisaeng organizations' original Changgeuks and stage expression tried through their design and performance show the appearance of 'Gisaeng-actress,' who attempted for a variety of self-expression exceeding the sexuality permitted by the male authority of the mid and late-1910s' colony. It requires attention for its importance as a pathfinder for female performers and pop culture artists of the following generations.