근대초 기생들의 창극 공연 양상과 의의

Abstract

This study focuses on Gisaengs, who acted as a performers of a traditional performance on the stage of an indoor theater in the early modern period and attempts to examine the pattern and implications of their performance activities, especially regarding the Changgeuk performance. To this end, this study first explored the process of how Gisaengs, who were traditional artistic holders, appeared in earnest as the main performers in the Changgeuk performance over time. Next, this study examined the patterns of Changgeuk performances in which Gisaengs participated and were active at a theater exclusive or association level at that time. This study divided the patterns into five categories, considering the nature and format of the Changgeuk performances reported in newspaper and magazine articles at the time. These are 1) singing together or singing in parts, 2) ‘-noreum’, 3) Changgeuk, of which the form is difficult to conjecture, that has a material origin in the works of the non-Pansori line, 4) Changgeuk, which composes the whole play based on known Pansori works, but clearly reveals the characteristics of a dramatic branch through Chang(唱), and 5) the type of Chang-dance-play (唱舞劇) in which the traditional dance play is attached to Chang. Through this, it can be seen that the Changgeuk style was in a fluid state at the time of the so-called formative period. Furthermore, it can be inferred that in the 1910s, the female entertainers, the Gisaengs, occupied a central position in Changgeuk's performances, and that for Changgeuk performers centered on Gisaengs at the time to win the audience's response, they had to put deep thought and effort into gaining popularity. In the early modern period, the Changgeuk activities of Gisaengs were to secure their identity by surpassing the unjust prejudices imposed on them, and as a result, they were also to give value to traditional performances, including Changgeuk, as modern art products.