장안사 및 장안사 소속 ‘일행’의 공연 활동 연구

Abstract

The Changansa 長安社 was the one of the theaters in Seoul used during the early 1900s for the performance of Korean traditional music, dance and drama. This paper presents an overview of the kinds of performance that were held, and when and how many times these performances were staged by groups of entertainers called irhaeng 一行-actors/actresses under contract to the theater. The Changansa theater began as a place of entertainment from 1907, not 1908 as previously thought. It was the principal venue for all kinds of entertainment such as film, drama and Korean traditional performance. Between 1907 and 1909 the repertoire of the theater consisted of Korean traditional performance, drama, movies, and Chinese theatrical entertainment; between 1910 and 1912, p'ansori 판소리 (single actor operatic drama) performances, including some by the singer Yi Tong-baek 李東伯 were produced which unfortunately led to the theater being criticized for becoming a source of loose morals. In 1913-1914 the Changansa reached its pinnacle in Korean traditional performance with the trio Pae Ŭng-hyŏn 裵應鉉, Sim Chŏng-sun 沈正淳 and Kim Chae-jong 金在鍾 leading regular performances in Seoul as well as on provincial tours. From June 1914 the theater began to experience financial difficulties which led to its closure. During the theater’s heyday, Pae 裵, Sim 沈 and Kim 金 formed their own entertainment groups, Pae in traditional dance, Sim dramatizing the modern novel, and Kim staging adapted dramas by Pae, Sim or artists from other theaters. Kim also adapted dance performances by the Kang Sŏn-ru group 降仙樓一行 of the Tansŏngsa 團成社 theater, by adding new elements to them. This has led many researchers to regard the main repertoire of the Changansa as dance, but actually the main activity of the theater was old-style play (kuyŏn'gŭk 舊演劇) like operatic drama, ch'anggŭk 唱劇. As the first modern theater in Korea, the Changansa brought Korean traditional performance that had been staged outdoors to an indoor stage, and it allowed groups of performers to create a new genre, old-style play, which influenced the repertoire of other theatrical groups in the 1900s.