라이선스 뮤지컬의 현지화에 대한 일고찰 ―­ 체코 뮤지컬의 현지화를 중심으로

Abstract

This paper began to examine the aspect that Czech musical The Three Musketeers and Jack the Ripper surpassing the original not being verified, sometimes referred to as successful models of the Korean Wave. It was necessary to check internal and external situations where the re-created version after “Korean adaptation” or “Korean transformation” was far superior. The results of the discussion are as follows. First, adaptations from event-oriented to person-oriented played a key role in indigenization. The Three Musketeers combines the original novel with Dix Ans plus tard ou le Vicomte de Bragelonne to dramatically simplify the incident and expand the story of the character individually. Jack the Ripper created a character named Daniel based on the science fiction character, “Crazy scientist,” which was noted during the Victorian era, and reformed Daniel in the typical frame. In the same vein, the tragic life of Daniel’s lover Gloria was also treated with weight, which made Daniel’s monstrosity even more prominent. Second, communication between the stage and the audience has changed at the fundamental level. If the Czech original version created a “transition” layer between reality and dramatic reality to communicate between the stage and the audience, the licensed version elicited an immediate and direct response from the audience with the elements of Kitsch and show. All these factors also allowed us to consider the fundamental changes in subject and stage aesthetics. The Czech original version focuses on an individual and contradictory world, while the licensed version aims for an ideal and orderly cosmos. Eroticism and grotesque were used as stage aesthetics to reveal the orientation of original version, and licensed versions enhance entertainment and lower the level of eroticism and grotesque. The guilt of men who failed to protect women was the basis for a world of ideal and orderly that the right and “faithful” women and ideal men could live in that world. Therefore, it is appropriate to change the licensed version’s assessment of Korean adaptation. That is the reflection of the physiology and sentiments of the local musical market and the adaptation of flattened pop culture text.