강창문학의 현대적 변용 양상 연구-하남추자와 판소리의 비교를 중심으로

Abstract

The 'speaking' and the 'singing' are known as the basic elements of the ballad literature, even though there is no accurate conceptualization both in South Korea and China. Pansori in South Korea, as the most representative of preaching art, is the best comparison object to Henan Zhuizi in Henan Province of China. However, both Pansori and Henan Zhuizi have changed under the influence of Western drama in modern time. This paper is divided into three parts to examine and compare the change processes and characteristics between the traditional art of preaching literature of Pansori and Henan Zhuizi. In chapter two, it examines the changes and characteristics of the Henan Zhuizi, which has been evolutive from a traditional one to the modern one named as Shenze Zhuizi. Henan Zhuizi enjoy the prosperity time in 1930s, 1950s and 1980s, and still exudes a unique charm at now. The performance site of Henan Zhuizi gradually changed from the initial roadside to a fixed teahouse. One of the most representative indoor stage was Xiangguo Temple in Kaifeng of Henan Province at that time. It was generally shown by one person performing and playing the accordion at the same time, or the two person-formation by one performing and the other playing the accordion. In order to earn more money, the actors tend to using the superb performance skills to attract audience. Usually, they also would like to suddenly stop the performance at the climax to engage the audience seeing the next performance. In the 1950s, under the influence of Western drama and traditional Chinese drama, Henan Zhuizi has changed to be a new form named Shenze Zhuizi in Hebei Province. On the base of Henan Zhuizi, Shenze Zhuizi absorbed the western theater structure, which had a script and a stage cue. Meanwhile, the story was told by narrative changed to performance. In the modern drama, Shenze Zhuizi joined a large number of realism and gave the characters a modern sense of consciousness and critical spirit on the content. What’s more, the performance system has changed from the original actor-centered to the director-centered. In chapter three, it examines the changes and characteristics of the traditional Korean Pansori. There are many theories of the origin of Pansori, but no verdict has been achieved yet. After "the first eight singing times", "the last eight singing times" and "five singing times", Pansori begin to be Korean-traditional in the 1900s. Pansori was made up of a singer, a drummer and the audience based on the 'pan'. With the active participation of the audience, Pansori was manufactured by the singer and the drummer would be through the difficult preparation process and performance by using 'say', 'sing', 'interaction'. The Korean traditional evolved the separate-sing style at the Hyopyul-sa indoor theater stage in 1900. With the changes of time, it gone through the 'new drama', 'old drama', 'national drama', it established the performance form of Korean traditional drama in 1936. The unique Korean traditional Do-chang is formed by learning from western drama and inheriting the declarative part of the Pansori. It was performed not only by expanding the original auditory effect, but also increasing the visual effect. In chapter four, it is a comparison of Modern Performance features between the Korean traditional drama and Shenze Zhuizi. On the basis of traditional singing and singing art, both of the Korean traditional drama and Shenze Zhuizi have a new innovation changes on the stage, the form of performance, actors and plays. Do-chang and playing poetry have the same function in narrator, the link, description, and a summary of the incident. But there are some differences at the same time. More freely acted according to the contents of the play in Korean traditional drama, which of them in Shenze Zhuizi was acted a stipulated range. And Shenze Zhuizi has more limitations than Korean traditional drama, besides both of them communicate the comic aesthetics by verbal and gesture.

The 'speaking' and the 'singing' are known as the basic elements of the ballad literature, even though there is no accurate conceptualization both in South Korea and China. Pansori in South Korea, as the most representative of preaching art, is the best comparison object to Henan Zhuizi in Henan Province of China. However, both Pansori and Henan Zhuizi have changed under the influence of Western drama in modern time. This paper is divided into three parts to examine and compare the change processes and characteristics between the traditional art of preaching literature of Pansori and Henan Zhuizi. In chapter two, it examines the changes and characteristics of the Henan Zhuizi, which has been evolutive from a traditional one to the modern one named as Shenze Zhuizi. Henan Zhuizi enjoy the prosperity time in 1930s, 1950s and 1980s, and still exudes a unique charm at now. The performance site of Henan Zhuizi gradually changed from the initial roadside to a fixed teahouse. One of the most representative indoor stage was Xiangguo Temple in Kaifeng of Henan Province at that time. It was generally shown by one person performing and playing the accordion at the same time, or the two person-formation by one performing and the other playing the accordion. In order to earn more money, the actors tend to using the superb performance skills to attract audience. Usually, they also would like to suddenly stop the performance at the climax to engage the audience seeing the next performance. In the 1950s, under the influence of Western drama and traditional Chinese drama, Henan Zhuizi has changed to be a new form named Shenze Zhuizi in Hebei Province. On the base of Henan Zhuizi, Shenze Zhuizi absorbed the western theater structure, which had a script and a stage cue. Meanwhile, the story was told by narrative changed to performance. In the modern drama, Shenze Zhuizi joined a large number of realism and gave the characters a modern sense of consciousness and critical spirit on the content. What’s more, the performance system has changed from the original actor-centered to the director-centered. In chapter three, it examines the changes and characteristics of the traditional Korean Pansori. There are many theories of the origin of Pansori, but no verdict has been achieved yet. After "the first eight singing times", "the last eight singing times" and "five singing times", Pansori begin to be Korean-traditional in the 1900s. Pansori was made up of a singer, a drummer and the audience based on the 'pan'. With the active participation of the audience, Pansori was manufactured by the singer and the drummer would be through the difficult preparation process and performance by using 'say', 'sing', 'interaction'. The Korean traditional evolved the separate-sing style at the Hyopyul-sa indoor theater stage in 1900. With the changes of time, it gone through the 'new drama', 'old drama', 'national drama', it established the performance form of Korean traditional drama in 1936. The unique Korean traditional Do-chang is formed by learning from western drama and inheriting the declarative part of the Pansori. It was performed not only by expanding the original auditory effect, but also increasing the visual effect. In chapter four, it is a comparison of Modern Performance features between the Korean traditional drama and Shenze Zhuizi. On the basis of traditional singing and singing art, both of the Korean traditional drama and Shenze Zhuizi have a new innovation changes on the stage, the form of performance, actors and plays. Do-chang and playing poetry have the same function in narrator, the link, description, and a summary of the incident. But there are some differences at the same time. More freely acted according to the contents of the play in Korean traditional drama, which of them in Shenze Zhuizi was acted a stipulated range. And Shenze Zhuizi has more limitations than Korean traditional drama, besides both of them communicate the comic aesthetics by verbal and gesture.