2000년대 신판소리의 변모 양상 -바닥소리의 창작활동을 중심으로-

• 영문명: Transfiguration aspect on Shin-Pansori in the 2000s - Centered on the creative activities of Badak-sori -
• 발행기관: 동남어문학회
• 저자명: 박정아(Park, Jeong-Ah)
• 간행물 정보: 『동남어문논집』동남어문논집 제44집, 231~258쪽, 전체 28쪽
• 주제분류: 어문학 > 문학
• 파일형태: PDF
• 발행일자: 2017.11.30

국문 초록

이 연구는 신판소리의 변모양상을 2000년대 소리집단인 ‘바닥소리’ 의 창작활동을 통해 밝히는 것을 목적으로 한다. 먼저 1900년대부터 현대까지 신판소리의 문화사적 흐름을 고찰한 후 2000년대에 들어 급변하는 신판소리의 창작과 연행양상에 대해 논의하였다. 이를 문화예술 시장의 근본적인 변화에 의한 것으로 이해하고 연극화라는 속성을 중심으로 논의하였다. 1인극 판소리로 창작되던 신판소리는 2000년대 후반에 접어들면서 판소리 극, 판소리뮤지컬이라는 생소한 장르로 대중 앞에 모습을 드러낸다. 사설의 서사구조는 더욱 긴밀해지고 이야기성이 강화된 신판소리는 실내 무대공간과 무대장치를 기반으로 보다 연극화된 형태로 변화를 감행한다. 신판소리의 초기형태였던 단형판소리가 중・장형판소리로 확장되고 연행 양식도 1인극에서 다인극의 형태로 다양화된다. 판소리의 음악도 파격적인 변화를 보이고 창자에게는 소리꾼이면서 동시에 전문 연기자로의 역할이 강조 된다. 개인 창작・연행에서 집단 창작・연행으로 이행하고 연행의 각 요소에 전문인력이 투입되면서 판소리의 연극화는 보다 긴밀하고 체계적인 방향으로 이루어지고 있다. 이러한 현상은 전통연행 예술의 방향성을 가늠하는 지표이 면서 전통문화와 대중문화의 경계에 선 판소리의 입지에 대한 고민과 그 속에서 나타나는 판소리 장르성에 대한 논의의 필요성을 역설한다.

영문 초록

This study aims to determine the transfiguration aspects of Shin-Pansori through the creative activities of “Badak-sori , a Sori group in the 2000s. First of all, we examined the flow of cultural history on Shin-Pansori from the 1900s to the present time, discussing the performance aspects of Shin-Pansori which are changing rapidly in the 2000s. We understood that the variations of the account, performance style, performance place, and performance subject of Shin-Pansori have been caused by the fundamental changes in the culture and art market; and discussed this, centered on the attribute of ‘theatricalization’. As entering the 2000s, Shin-Pansori has actively accepted the changes in the culture and art market and executed the experimental attempts for the traditional performance style. A number of works theatricalized under the name of pansori drama, pansori musical, etc. were created, and the exception of performing grammar was attempted. Such aspects were established through the creative activities of Badak-sori, a Sori group playing a leading role in the creation of Shin-Pansori in the 2000s. The reinforcement of theatricality is accomplished through the changes in account, stage, subject, etc. While the traditional pansori is a story-telling performance through the auditory sensor, centered on a master singer of Pansori; in Shin-Pansori, the Sori-pan (performance stage) focusing on the master singer is disintegrated and the focus is put on the story of narration composing the pansori,rather than the Sori itself. In case of the early Shin-Pansori, a lot of short-type pansoris with the novel materials were also created by putting its purpose in creating the interesting stories, yet the medium-long type narration equipped with the distinctive characters and four steps in composition - introduction, development, turn, and conclusion - attempted to be created by complementing this in the late 2000s. Even though there is a case that the completely new story is created, it labors at creating the narrations containing the aesthetic sense of pansori by utilizing the existing classical poetry. In order to complete the literary property of pansori, the integrity as a performing art is pursued by introducing the professional manpower, such as dramatists, directors, etc. In addition, the group activities are more prominent than individual ones, and the change is promoted from the small-scale performances where one person performs to the nationwide-scale ones. Through various Sori-groups, the consciousness of co-creation and co-performance is enhanced, and the roles of Sori-group members in creation and performance are distributed. The aspects could be shown in which the performing place is relocated to the indoor venues and stages and the stage settings are actively utilized as the auxiliary means, to complement the attribute of story. The singer’s attire has become more diverse and the role of drummer has also become divided. It is not so difficult to find the case that the multiple singers get on the stage; the drummer also shows the colorful stage music by introducing a variety of instruments, other than janggu only, and the music in a different genre, and the multiple drummers would be arranged depending on the features of music. Whether in the form of one-man play or multiple-men play, as the work in which the story attribute is emphasized has appeared, the pansori encounters the masses as a fusion genre, called ‘Pansori-guk’. It was revealed that this phenomenon has become an indicator determining the direction of traditional performing arts, which could be a means to grasp the present position of traditional performing arts as popular culture. In addition, it was suggested that the thoughtful study should be necessary for the pansori genre in modern society.

목차

1. 서론

2. 신판소리의 문화사적 이해

3. 신판소리의 대중성과 연극화

4. 결론

키워드

판소리 신판소리 창작판소리 현대판소리 신작판소리 신판소리 새판소리 현대 전통 고전 연행 연행예술 종합예술 현대화 변용 재현 연극성 연극 화 바닥소리 이야기성 판소리극 판소리뮤지컬 판소리모노드라마 pansori Shin-Pansori Creative pansori modern pansori Newly-written pansori New pansori neo-pansori performance, performing art synthetic art modernization transformation reproduction theatricality theatricalization Badak-sori story attribute Pansori-guk pansori musical, pansori monodrama