신체제기 창극단의 탄생과 분화

Abstract

Several changgeukdans appeared and various creative changgeuk works were announced during the New System Era (新體制期, 1940-1945), a time when the Japanese wartime system was newly transformed. This study empirically investigated the emergence and differentiation of the changgeukdan, and the changes of changgeukdan managers and producers in relation to the controlling cultural policies during this period. With the implementation of the theatrical control and mobilization system, the changgeuk world changed significantly. First, during this period, several companies named “Changgeukdan” were formed, and new forces emerged through these companies. Joseon Seongak Yeonguhoe (조선성악연구회) was transformed into Changgeukjwa (창극좌) and then Joseon Changgeukdan (조선창극단), and Kim Yeon-soo emerged as its leader. In contrast, Hwarang (화랑) and Dongil Changgeukdan (동일창극단) actively presented new works, emphasizing its music choreographic characteristics, and Cho Seon-sun and Kim A-bu emerged as new forces in the field of composition, directing, and writing. Second, as the demand for new scripts aligned with Japanese imperialism national policy increased, the members of the Playwrights’ Club (극작가동호회), such as Park Jin, Lee Woon-bang, and Kim Gun, announced creative changgeuk works. Specifically, Park Jin was deeply involved in the changgeuk world, using several names. He led the establishment of Hwarang, was in charge of the director’s role in Changgeukjwa and Joseon Changgeukdan, and wrote a national propaganda plays. Meanwhile, Kim Yong-seung, who provided the performances of Joseon Seongak Yeonguhoe as an adaptation writer, left Joseon Changgeukdan and joined Dongil Changgeukdan, but withdrew without producing any new work. Third, social and cultural figures were involved in the establishment and operation of changgeukdans. Park Seok-ki served as the manager of Hwarang and Joseon Changgeukdan, and Yoon Baek-nam served as the representative of Bando Changgeukdan. In the organization of changgeukdans, there was also a “deliberation room” composed of “cultural authorities.” During the wartime period, new figures emerged in entire fields of changgeuk production, and cultural figures widely participated in the management of changgeukdans.