The Meeting of Changgeuk and Greek Tragedy: Transcultural and Transhistorical Practice of Korean Pansori-Changgeuk and the Case of Medea
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This article aims to shed new light on the experimental changgeuk Medea with reference to the concept of transcultural/transhistorical practice. First, it argues that the changgeuk entitled Medea restructures the tenets of Greek tragedy while respecting both the original Greek narrative and Korean historical/cultural mentality. Second, it shows how the changgeuk Medea creatively reimagines performance mode through the mixing of two theatrical genres. Third, it highlights the way in which Medea instrumentalizes the history of East Asian performance art. Fourth, it argues that Medea is the outcome of a harmonious conceptual collaboration between Greek pathos, the so-called han of pansori, and the grotesque. Fifth, it hypothesizes that, at the culmination of the grotesque mood in Medea, the audience experiences a dramatic turn that is effective because it is in full accordance with the affective structure of pansori, a process defined herein as reflective catharsis. Finally, it calls for a reflective process of creative artistic innovation and globalizing modernization in Korean traditional theater in order to transcend simplistic Orientalism, wherein Asia is appropriated as merely an object of a fixed tradition or past.
Abstract
This article aims to shed new light on the experimental changgeuk Medea with reference to the concept of transcultural/transhistorical practice. First, it argues that the changgeuk entitled Medea restructures the tenets of Greek tragedy while respecting both the original Greek narrative and Korean historical/cultural mentality. Second, it shows how the changgeuk Medea creatively reimagines performance mode through the mixing of two theatrical genres. Third, it highlights the way in which Medea instrumentalizes the history of East Asian performance art. Fourth, it argues that Medea is the outcome of a harmonious conceptual collaboration between Greek pathos, the so-called han of pansori, and the grotesque. Fifth, it hypothesizes that, at the culmination of the grotesque mood in Medea, the audience experiences a dramatic turn that is effective because it is in full accordance with the affective structure of pansori, a process defined herein as reflective catharsis. Finally, it calls for a reflective process of creative artistic innovation and globalizing modernization in Korean traditional theater in order to transcend simplistic Orientalism, wherein Asia is appropriated as merely an object of a fixed tradition or past.
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