지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 중국어문학연구회 중국어문학논집 中國語文學論集 第136號
- 발행연도
- 2022.10
- 수록면
- 285 - 309 (25page)
- DOI
- 10.25021/JCLL.2022.10.136.285
이용수
초록· 키워드
오류제보하기
Yue-ju Opera and Female Gukkeuk are representative traditional theater styles in which only actresses perform. In the 20th century, women’s social advancement had become more frequent, so women’s stage performances are no longer unfamiliar. Yue-ju Opera and Female Gukkeuk are popular and traditional plays developed in Seolchang(說唱), and have similarities such as the actress’ male costume acting and romance narratives. The history of Female Gukkeuk and Yue-ju Opera is a process in which women, who were excluded from stage performances and were taboo, became the central body of the stage.
First of all, I reasearched the process of women becoming the central body on the stage. Yue-ju Opera and Female Gukkeuk were theatricalized from Seolchang Art. Changgeuk was established by the Joseon(朝鲜) Vocal Music Research Association, and Yue-ju Opera was established as Yue-ju Opera through Nakji Changseo, Sogaban, and Shaoxing-Munhee. Both theater styles had performed only by men at the beginning period. Since then, Changgeuk has partially performed by Ki-saeng or female singers of Pansori, but Yue-ju Opera had established a female troupe and let male troupe push out.
Since Female Gukkeuk and Yue-ju Opera are performed only by actresses, the actress’ male costume is the core of these two styles. Female Gukkeuk was established by Im-Chun-Aeng, who participated in the early days, and Yue-ju Opera was established by YIn-guifang through various resuscitation actors in the late 30s and 40s. Unlike the Female Gukkeuk established actress’ male acting and then the other actors’ acting was highlighted, the Yue-ju Opera was centered on the Huadan(花旦) at first and later on, Xiaosheng(小生) became centered. In terms of makeup, costumes, romance narratives, and singing method, Female Gukkeuk has a relatively strong and powerful images, compared to Yue-ju Opera which has a soft images.
After liberation from Japanese colonial rule, Female Gukkeuk had a desire to become the representation of national theater with the motto of establishing a nation- state and national musics. This desire was also expressed in a national formation narrative. However, the Female Gukkeuk, which wanted to be the representation of the nation-state, became marginalized when Korean society had rebuilt the traditional gender order again.
In Shanghai, many immigrants from Zhejiang(浙江) and Jiangsu(江蘇) province accounted for the majiority, and Yue-ju Opera had the locality to put them together. After the establishment of People’s Republic of China, thanks to the marriage law campaign, romance narrative-oriented works gained popularity nationwide and even were introduced to foreign countries, functioning as the representation of the nation-state.
First of all, I reasearched the process of women becoming the central body on the stage. Yue-ju Opera and Female Gukkeuk were theatricalized from Seolchang Art. Changgeuk was established by the Joseon(朝鲜) Vocal Music Research Association, and Yue-ju Opera was established as Yue-ju Opera through Nakji Changseo, Sogaban, and Shaoxing-Munhee. Both theater styles had performed only by men at the beginning period. Since then, Changgeuk has partially performed by Ki-saeng or female singers of Pansori, but Yue-ju Opera had established a female troupe and let male troupe push out.
Since Female Gukkeuk and Yue-ju Opera are performed only by actresses, the actress’ male costume is the core of these two styles. Female Gukkeuk was established by Im-Chun-Aeng, who participated in the early days, and Yue-ju Opera was established by YIn-guifang through various resuscitation actors in the late 30s and 40s. Unlike the Female Gukkeuk established actress’ male acting and then the other actors’ acting was highlighted, the Yue-ju Opera was centered on the Huadan(花旦) at first and later on, Xiaosheng(小生) became centered. In terms of makeup, costumes, romance narratives, and singing method, Female Gukkeuk has a relatively strong and powerful images, compared to Yue-ju Opera which has a soft images.
After liberation from Japanese colonial rule, Female Gukkeuk had a desire to become the representation of national theater with the motto of establishing a nation- state and national musics. This desire was also expressed in a national formation narrative. However, the Female Gukkeuk, which wanted to be the representation of the nation-state, became marginalized when Korean society had rebuilt the traditional gender order again.
In Shanghai, many immigrants from Zhejiang(浙江) and Jiangsu(江蘇) province accounted for the majiority, and Yue-ju Opera had the locality to put them together. After the establishment of People’s Republic of China, thanks to the marriage law campaign, romance narrative-oriented works gained popularity nationwide and even were introduced to foreign countries, functioning as the representation of the nation-state.
목차
1. 들어가기
2. 여성들의 공연
3. 국가/로컬리티의 표상
4. 나오며
參考文獻
ABSTRACT
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