창극의 소통구조와 언어미학 = 국립극장 공연 창극 〈淸〉을 중심으로

다국어 초록 (Multilingual Abstract)

The aim of this paper is to find out the verbal-aesthetical characteristics of Chang-guk. The plot structure, main characters, and relations between chang(唱)and actions have been studied already but the aesthetic traits mentioned rarely.
Chang-guk is composed of two generic traits that of pansori and that of drama, that is to say it is a kind of music drama based on pansori of its musical method and the main story of it. In the genre of Chang-guk, the language of pansori and the performed language of drama is mixed in general. For the writer and producer of it the ability of reforms that language is given widely.
As a result the characteristics of the language of Chang-guk can be arranged as follow. ① a basic language which convey the story, ② the language of chang that emotionally configurate the story, ③ various languages that visualized in the course of performance of it.
The languages of literature assumes the cognitive reception of the readers. The readers read the texts critically by which they reconstructs the story, and make sense of the text basically. The spectator who is watching the Chang-guk does a sensitivity accommodation. Another words, they do the complex aesthetic activity appropriation(or sympathy) and distancination of the text played on the stage. But sometimes in Chang-guk appropriation(sympathy) takes precedence over distancination. In the principle of sympathy Chang-guk brings into play a language that is pertinent to a identity of character and a situation.
The language of Chang-guk has a productivity that promotes the change and reproduction of genre. It built on the narrative and the songs and narration of pansori, but Chang-guk is a kind of upheaval dramatical language that dissimilar to pansori. And as a result of drama production, Chang-guk has a creative productivity in literary languages.