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논문 상세정보

박동진제 판소리에 나타난 ‘준비된’ 즉흥성의 면모 - 춘향가 ‘어사 출도’ 대목을 중심으로

The prepared improvisation on Park Dongjin’s Pansori -Based on ‘Eosa chuldo’ of Chunhyangga-

Journal of korean Culture v.45 , 2019년, pp.335 - 365  
송미경
초록

This paper examined the aspect of 'prepared' improvisation which appeared in Park Dongjin's Pansori based on the result of comparison of six source materials of performances of Eosa chuldo in Chunhyangga in the 1980s. The dictionary definition of improvisation is difficult to say that it means 'the nature that follows the inspiration or mood right from the spot', or that all the improvisation in the performance of Pansori is just happening right in the place where it is performed. This kind of performance does not correspond to improvisation as a dictionary definition, but it may be that the aspect of directing seems to be improvisational in reality. When the performance of improvisation prepared in Pansori gets a meaning from the audience, it acts as the driving force of the variation, and the And the steady accumulation of such improvisation - variation will lead not only to the gut, but also to the progress of the corresponding poems, works, and even pansori. This aspect of 'prepared' improvisation is a feature of Park Dongjin's Pansori. 'Improvisational editorial' or 'improvisation' is a term that does not fall into the evaluation of academia and tax on Park Dongjin or Park Dongjin's Pansori. However, among the improvisations he has shown, there are also parts corresponding to improvisation in addition to improvisation which corresponds to dictionary definition. The aspect of 'prepared' improvisation, which was confirmed by Park Dongjin's 'Eosa chuldo', can be summarized as follows. First, it is the insertion of editorials considering the purpose and character of the performance. This part can be said to be a 'prepared' improvised editorial in advance of the nature of the performance in advance. This editorial appeared in the form of an explanatory one or in a form showing. Secondly, it is a part that will be borrowed by the performance by selectively borrowing the existing editorial. Of course, Park Dongjin's 'Eosa chuldo' is a completely new editorial, which is not seen in the rest of the material, there was always an editorial expressing the same contents all the same. This part corresponds to the play of improvisation from the situation where the actual performance is going on. However, the notable point here is that the editorials are equally represented in two or more performances. This is the result of Park Dongjin's free choice of the most appropriate editorials that he usually possesses, according to the circumstances of his performance. It is not an editorial that was created suddenly on the stage, but it changed the sound through strategies that sometimes included editorials that were already included in performances and sometimes did not.

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