韓國女性國劇史 硏究 = Study on the History of Korean Women's Play

다국어 초록 (Multilingual Abstract)

For the first time, I tried the study on the history of Korean woman's play. It have treated as small pharagrapy in the department of the history of Korean classical opera by few study, and there's rarely academic study on it by its being consider as an abnormal phenomenon in the history of general play.
I examined realistically the history of national play and historical development course which gained national hailing and recoded national performance by ruling as a favorite child of popular art even for a period, with leading the play for more than 50 years with persistent vitality, booming with Korean republic government establishment.
As the reason of fetal movement and background, I discovered the appearance of two women, ＜Namo＞ and ＜Chunjung＞, and the case of being descended by a fortuneteller, and the fact that the role of man were done by woman for a long history in the active public performance of the prostitute association in 1910s.
With the influence by the appearance of the first inner theater of Korea, ＜Wongaksa＞, ＜Huprulsa＞, etc. and the introduction of foreign performance, the effect by Japanese Kabuki or Chinese Kunggik on the national woman play were great.
The success secret of the national woman's play having the sway over a period was Korean opera.
It's perfect in dramatic constitution as a general play including fork play, fork song, p'ansori, a grand opera, stage clothes, the subject matter of a production, and music, and those who commanding excellent vocal song and acting skillfully such as woman famous singer, Kim So-Hee, Park Gui-Hee, Im Chun-Ang, Choe Kum-Ang, Oh Jung-Suk, Kim Kyeng-Ae, Kim Jin-Jin, Kim Kyeng-Su, etc. were addied. So, it succeeded.
But, as the reason of collapse ; the repeated performance of monotonous repertory and not raising up advanced player and not preparing the future by being dull in the change of the times and public senses and being adding to the confusion and jealous and meeting and parting again and again, it became extinct and rapidly falling off in the middle of 1960s and took vacuum period until the late 1970s.
In the 1980s, the resurrection and recovery was dreamed by Kim Jin-Jin, Kim Kyeng-Su, Hong Sung-Duck, Lee Kun-Ja, Park NE-Suck, etc. and the period of re-jumping period had come and reached today.
The development of vocal play in 1940s got into stride in ＜Chunhanggen＞, ＜the flower in the prison＞, ＜Sun and Moon＞, stc. in the before and after of the liberation, with woman played in the man and woman mixture vocal song assembly permeating into the role of man because of the old aged of the an vocal player and the lackness of the talent man.
After then, the play hesitated for a while owing to the June 25th Incident of Korea in the 1950s, but the national woman's play developed impatiently in the after and before the war.
Dividing the golden age, I introduced the Korean republic government establishment in 1948 and the course of beginning and development of the national woman's play, and arranged the acting of the national woman's play assembly such as Sun national play assembly, Samsung national play assembly, Chinkyeng, etc, as well as Imchunang company.
I put in order the life of Im Chun-Ang and the national women players such as Park Kui-Hee, Kim So-Hee, Chang Woljungsun, Oh Jung-Suk, Cho Kum-Ang, Park Ock-Jin, Cho Yung-Suck, etc. and so arranged 20 persons including Hong Sung-Duk, Kim Sung-Ae, and Kim Keum-Mi.
I found about 50 playbooks of performance work and summed up 6 among them, and tried to study on the unique makeup, stage clothes, spectators and music, but remained much research problem with the lack of data.
Deciding the title of this treatise, I was pleased and fluttered as a explorer sailing for a hidden treasure island, but much endeavor needed to discover the difficult data for finding.
Every company is lack of the concrete performance content and I experienced that there's a limit that it's impossible without the help of contiguity learnings for academical study.
And I realized if we study well and develop our play having vitality twisting in the folk play or p'ansori and vocal play, we can bloom it greatly.
What's surprising is the feeble women suggested the possibility of public entertainment as Korean culture goods.
As the national woman's play is a general play, it became spoiled easily without the synthetic cooperation or counterplan, because it's impossible without the help of writer, producer, stage setting, composition using music, stage, light, etc.
Therefore, the assembly of national woman's play rised disorderly without any control and restriction and bolstered up ruin and self-breakup and failed to be united toward greater aim and direction.
On the other hand, it's astonished over a shock that a government let the national play having such huge potential power and the market of culture sightseeing as it is for a long time.
It's wrong to neglect and negligent the sole flower which rise by centering woman out of the man-centered thought in Confucian feudalism system instead of blooming it.
I realized the development of the revival movement of national play and research action over nation and society are urgent, with attaining the 50 years of Korean republic government establishment and the 50 years of the national woman play founding.
The future problems for development of the national woman's play are the designation of cultural assets of the member of the whole woman player, the establishment of the institution for taented man raising, the establishment of a exclusive theater, the conception of composition, producer, production giving deep emotion toward 21century, and the work keeping alive the tradition of national play, etc.

목차 (Table of Contents)

• 目次 = ⅰ
• Ⅰ. 序論 = 1
• 1. 연구목적 = 1
• 2. 연구방향 = 3
• Ⅱ. 女性國劇의 發芽期(1940年∼1950年) = 7
• 1. 發芽의 始源 = 7
• 2. 시대조류와 사상배경 = 11
• 3. 각 창극단의 활발한 공연내용 = 16
• Ⅲ. 女性國劇 全盛期(1951年∼1960年) = 27
• 1. 여성국극단들의 활발한 공연활동 = 27
• 2. 임춘앵과 그의 무대활동 = 45
• Ⅳ. 女性國劇 再跳躍期(1981年∼1998年) = 67
• 1. 홍성덕과 〈서라벌국악예술단〉 = 70
• 2. 이군자, 김경수, 김진진, 박미숙의 활동 = 75
• 3. 반성과 도약의 방법 = 78
• Ⅴ. 作品과 舞臺構咸의 特性 = 85
• 1. 작품의 특징 = 86
• 2. 무대구성의 특성 = 102
• 3. 여성국극의 음악 = 105
• 4. 여성국극의 관객 = 108
• Ⅵ. 結論 = 113
• 부록 : 여성국극 배우 20 = 117
• 參考文獻 = 137
• ABSTRACT = 143