1900년대~1910년대 경성 소재 일본인 극장의 일본 전통예술 공연 양상

Abstract

This paper examines and analyzes the articles in the Gyeonseong Sinbo and the Gyeongseong Ilbo on Performances in Japanese theaters posted from 1907 to 1915 to find aspects of the traditional Japanese performing arts carried out in Joseon Dynasty in early 20C. The number of the Japanese-owned theaters in operation in Seoul (Gyeongseong) was 16 around 1910, and 11 out of the 16 theaters had the traditional Japanese performances. The traditional Japanese performances increased from 1907 to 1910 but decreased until 1912, showing an increase in 1915 again. The increase of performances is seemingly related to the increase of the number of theaters. The Japanese performing arts were in recession in 1911 and 1912 and did not return to prosperity despite a struggle for market recovery. The performance market was more activated than ever due to Joseon Industrial Exhibition in 1915. The most frequent performance was Naniwabushi (a genre of traditional Japanese narrative singing) followed by Kabuki (a classical Japanese dance-drama), Rakugo (a form of Japanese verbal entertainment), others, Gidayuu (a style of puppet play), Kodan (traditional oral Japanese storytelling), and Genjibushi to put in order. This is the same phenomenon as in Japan where Naniwabushi was popular by that time. There were also many performances by famous Japanese musicians in Seoul, which unfolds that the Japanese performing arts were following almost the same pattern both in Japan and Seoul without a time lag. The traditional Korean performing arts are not found in the performances in the Japanese theaters in Seoul. This reveals that the performances with different languages were held separately: the traditional or new-school Korean performing arts with the Korean language were held in Korean-owned theaters while the traditional or new-school Japanese performing arts were held in Japanese-owned theaters.