세기 초 극장 설립에 따른 기생 공연 양상의 변화 연구

다국어 초록 (Multilingual Abstract)

Dance is an art of time and space. In dancing, space is a very important element. The space of Korea's traditional dance has drastically changed since the late 19th century, as Western civilization came into the country. Such change gave birth to theaters. In Korea, theaters were built following the introduction of Western cultures/arts to Korea's traditional society. As Western cultures/arts became popular in Korea, the traditional Korean art became westernized as well, and as a result, more and more theaters were built. The purpose of this paper is to observe the change of modern performance art following the constructions of theaters around the beginning of the 20th century. This paper especially attempts to find the factor which changed our traditional dance with change of performance space.
In the early 20th century, there were many theaters with proscenium style, including Hyupryulsa, Wongaksa, Gwangmudae, Dansungsa, Yeonhyeungsa and Jangansa. In these theaters, dances which used to be performed in traditional dancing spaces were performed, as well as other performances such as traditional plays, Pansori, traditional magic shows, traditional circuses, etc. These theaters also showed movies. In short, all sorts of enjoyable performances were shown in the spaces of these theaters. During the early 20th century, the center of these various performances was taken by Gisaeng (singing and dancing girls in traditional Korean society).
After the introduction of theaters, the positional structure of Gisaeng was divided into two; Gisaeng who belonged to the theater and Gisaeng who were affiliated with associations. Especially in modern history of dance, it is amazing to see the introduction of Gisaeng who exclusively belonged to the theater. These Gisaeng performed in project performances sponsored by the theater, and took the role of promoting the theater or performance itself. Sometimes, these Gisaeng were reiterated with Gisaeng affiliated with associations. Such reiteration shows that the position of Gisaeng was very flexible, rather than being fixed. Not only being the main performers of the theater, Gisaeng took active roles in promoting the performances. The initial performances of Gisaeng mainly focused on Jungjae (court dance) along with Pansori, traditional folkdances and Jabgi (miscellaneous games). In other words, performances which used to be performed in palaces, Gisaeng houses and everyday dancing spaces were held in theater without any alteration. Following the introduction of Western civilization, however, the demands of spectators became diversified. These spectators became tired of past performances, and began to seek for new and unique performances. To satisfy such demands of spectators, the performance of Gisaeng changed in the early 20th century. This change not only improved the artistic quality of stage performances, but also provided a new spectacle for the new era. The performances of Gisaeng were divided and settled by the following activities. First were activities of creative dances which chose new themes or reformed traditional themes. Second were performances which actively accepted and staged foreign dances. Third were other various activities including routine and regular performances, specialized project performances, fundraising performances for social service, etc. Through the activities above, the performances of Gisaeng were settled as one of the modern performance arts.
One of the factors which made the performances of Gisaeng to be diversified is the change of spectators. After the construction of theaters, passive spectators who just enjoyed the performance started to actively evaluate, encourage and promote the performances. In other words, critical viewpoints have developed in spectators. These changes of spectators were caused by various factors. The first factor was the popularization of performance materials (in other words, court dance). As more and more spectators began to enjoy performances, they started to develop their own insight. Although it might be elementary, they started to a viewpoint of evaluating the performances. Most of the performance materials were traditional dances and music, and among such dances, most of them were court dance. The reason why court dance was mostly chosen as performance material was the similarity between the dance space and performer, the increased preference of spectators and the role of newspaper as a media. The second factor was the introduction of many unspecified spectators who would pay money to enjoy the performance. The third factor was the theaters' use of public media to meet with general people. Finally, the forth factor was the formation of elementary criticisms from the spectators or newspapers. Such elementary criticisms mainly took place in newspapers to be delivered to the performers, who would reflect these criticisms in their next performance.
As mentioned above, the elementary critical viewpoints were developed by the popularization of performance materials, increase of paid spectators and the role of massmedia connecting the performers with spectators. Such critical viewpoints became the catalyst promoting the performance activities of Gisaeng in the early 20th century. In such aspect, the performances of Gisaeng in the early 20th century became an important element for traditional performance art developing into modern performance art.

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1. 연구 목적 1
• 2. 선행연구 검토와 연구 과정 2
• 3. 연구 제한점 6
• Ⅱ. 극장 설립 배경과 형태 7
• 1. 협률사, 원각사 8
• 2. 광무대 15
• 3. 단성사 20
• 4. 연흥사 23
• 5. 장안사 25
• III. 극장 설립에 따른 연행 주체의 변화 28
• 1. 극장 전속기생의 등장 28
• 2. 기생조합 활동의 활성화 36
• IV. 극장 중심의 기생 공연활동 전개 44
• 1. 창작 무용 공연 44
• 2. 외국 무용의 수입 49
• 3. 공연활동의 정착 52
• 1) 극장 정기공연 52
• 2) 기생조합 정기공연 55
• 3) 기획공연 및 자선기금공연 58
• V. 극장 설립에 따른 향유 주체의 변화 64
• 1. 향유 주체의 요구에 의한 정재의 대중화 64
• 2. 유료관객의 성장 67
• 3. 대중매체와의 연관 69
• 4. 초보적 수준의 비평 등장 76
• VI. 결론 80
• [참고문헌] 83