창극의 전통 기반과 배우론

Abstract

This article aims to examine the historical changes of pansori clowns as they entered changgeuk, and to address the point at which they were recognized as great actors in the 120-year history of changgeuk. To establish the identity of Changgeuk, the purpose is to find and theorize the historical stems of ‘Changgeuk technique’ or ‘actor theory’ necessary for Changgeuk actors. To this end, I examined how people discourse on the dramatic nature of pansori, and looked at how the boundaries and crossroads between pansori and changgeuk are divided in the process of changgeuk painting since modern times. First, through Song Man-jae’s Gwan Woo-hee, the dramatic nature of pansori and the performance of the pan were examined. Next, Jung Hyeon-seok’s Jeungdongrisingunseo and Shin Jae-hyo’s Gwangdae-Ga were analyzed from a dramatic point of view, and the acting techniques and acting theory of master singers described by Nosik Jeong in Chosun Changgeuksa were examined. Lastly, by discerning and examining the similarities and differences between pansori and changgeuk, it was argued that modern changgeuk should be developed based on our traditional art. In short, it was emphasized that our changgeuk should have the identity of a ‘national play’ as well as a ‘music play’, and for this, it is necessary for changgeuk learners to build various artistic skills in addition to the musical aspect.