일츅죠선소리판 <춘향가 전집>(1926~1927)의 매체적 특징과 그 의의

Abstract

This study is to examine Nibbonohong gramophone record Ch’unhyang ka (1926 1927) from the perspective of media and to clarify features of dramatic embodiment. Though this record is the very first one through which we can experience the form of early ch’anggŭk in the absence of data on ch’anggŭk performance and script in the 1900s, it has been regarded as lacking in completeness of genre but in terms of media, this study found that it has elements to be systematized as ‘early dramatic embodiment.’ Gramophone record in early 1900s was a medium that demonstrated a form of writing different from print media and was considered a media with mechanical materiality and also a product of ‘contents facilitating people experiencing classical novel with p’ansori.’ In addition, popularization was the goal of Nibbonohong gramophone record Ch’unhyang ka, which was ‘naturally formed’ in that popularizing process. This study focuses on the form of ‘ipche-chang’ that master singer Dongbaek Lee and singers of Chuwol Kim and Geumhong Shin sang in turn as if they were talking to each other and systematizes features of this style. The study also demonstrates that ‘ipche-chang’ of Nibbonohong gramophone record Ch’unhyang ka was not merely ‘sound cantillated in turn’ but an intermediated form changing from ‘open structure’ of p’ansori into ‘close structure’ of ‘well established ch’anggŭk’ with Dongbaek Lee’s ‘planned’ improvisation and; it aroused the emotion of ‘consolation’ and the idea of ‘critical consciousness to people with social power and the process to publicize it.’ In conclusion, the form of ‘ipche-chang’ of Nibbonohong gramophone record Ch’unhyang ka has a specific ‘dramatic structure’ representing the flow of the times and; is an essential step to form ‘ch’anggŭk’ which highlights singers’ unique expression and enables thematic consciousness to be ‘thought’ of yet again.