朝鮮聲樂硏究會와 본격 唱劇運動

• 영문명: Chosŏn Sŏngak Yŏn gu-hoe [Chosŏn Vocal Music Research Institute] and Ch anggŭk (Satage P ansori) Movement
• 발행기관: 국립국악원
• 저자명: 류민영(Yoo Min Young)(柳敏榮)
• 간행물 정보: 『국악원논문집』제7집, 209~236쪽, 전체 28쪽
• 주제분류: 예술체육 > 음악학
• 파일형태: PDF
• 발행일자: 1995.11.30

영문 초록

When the first ever full-fledged theater. Wongak-sa, closed its doors with the invasion of the Japanese, performers moved their venue to Kwangmu-dae. A portion of the performers even went down as far to Kwangju, Naju and Chŏnju city and carried on with their various traditional artistic crafts. Traditional artisans of the time were mostly Kishaeng [Entertain girl] and a handful of instrumentalists, P ansori [Korean dramatic narative song) singers and story tellers. Those who belonged to Kishaeng school held many formal programs performing P ansori dance and playing instruments. They began performing the solo P ansori songs in an ensemble form, thus creating the beginning of Ch anggŭk (Satage P ansori). a new form of traditional singing. In 1934, the Chasŏn Sŏngak Yŏn gu-hoe [Chosŏn Vocal Music Research Institute) was founded in Seoul. Many of the top traditional singers were avid s upporters of this institute and here they began the development of Ch anggŭk form as well as other traditional fables and stories. Ch anggŭk s development is owed to the timely construction of the Tongyang Theater and such directors and set designers as Pak Jin and Han Hae-sung who devoted their artistic efforts to Ch anggŭk. Ch anggŭk was influenced greatly by the popular theater. Today s Ch anggŭk also remains as a form of the Tongyang Theater era. During the development years of the Ch anggŭk at the Chosŏn Vocal Research Institute, many professional Ch anggŭk performing troupes began sprouting. The reason for the eventual closing of the Research institute is attributed to the as well. In the beginning, Ch anggŭk was a popular paying profession. In the mid l 940 s began faltering under Japanese imperialism and especially with the drafting of the males and the volunteering of the females to the army which eventually left the entire Ch anggŭk genre to be utterly abolished before Korea s independence.

목차

Ⅰ. 서론

Ⅱ. 조선성악연구회(朝鮮聲樂硏究會) 발족 이후

Ⅲ. 창극단(唱劇團)의 등장과 그 활동

Ⅳ. 결어

Abstract