쇼쿄쿠사이덴카츠(松旭齊天勝)의 춤 전개 양상 연구 -1911년에서 1935년까지의 경성공연을 중심으로- (Study on Changing Developments of Syokyokusai Tenkatsu’s Dance)

서지정보

· 발행기관 : 한국무용예술학회
· 수록지 정보 : 무용예술학연구 / 34권 / 34호 / 191 ~ 213페이지
· 저자명 : 이주희

초록

Tenkatsu troupe was a magic performance team that wanted to communicate with the audience by combining magic with other genres of performance. It appealed to the audience of the time when people were not familiar with the Western culture and goods. Tenkatsu troupe was sometimes seen as a circus troupe or a group of entertainers because of its program structure that accommodated diverse dances and reflected the trend of the time. However such structure played a big role in establishing itself as a public performance art group and a messenger of modern stage performance.
Tenkatsu troupe enjoyed a huge popularity from its founding in 1911 to the retirement stage in 1935 not only in Japan but also in Korea(then Chosun),Twaiwan, Manchuria, and the US. With its focus on technique and magic, Tenkatsu troupe embraced genres such as dancing, play, and music while it pursued splendid stage that is both interesting and modern by reflecting the trend of the time. To achieve modern and splendid performance, Tenkatsu troupe organized Chosiren(죠시렌) and trained its performance to learn Western dance, Japanese dance, acting,singing, playing instruments as well as magic. Chosiren(죠시렌) has gradually evolved into a revue group that backed the smooth and splendid stages of Tenkatsu troupe and played a key role as an integral part of Tenkatsu. Tenkatsu troupe introduced most famous directors, choreographers, writers, staff, and actors(actresses) to prepare a perfect stage. Choreographers played the role of enhancing the quality of performance by training Tenkatsu and Chosiren(죠시렌). The performances of Tenkatsu troupe were splendid and lavish. And at the center of the performance,there was always dance. Style of dance has changed over time reflecting the time and society, affecting the stage of Tenkatsu troupe.
In Seoul(then Kyongsung) between 1911 and 1935, various dances took places and they include modern dance, ballet, Jazz dance, and Japanese dance. By time, they include Woo Yui dance in 1913, Woo Yui dance Girls Dance, Butterfly Dance, Youth Dance in 1921, an applied magic play “Salome” in 1915, an applied magic dance play “Goddess of peace” in 1918, an applied magic dance play,“Dream Butterfly, Nerve Puppet, Girls Dance, Youth Dance” in 1921, and Jazz dance and three dances(gypsy dance, puppet dance, oriental dance) in 1926, Jazz dance, sketch revue, a Japanese court dance and music “La Mort Du Cygne” in 1929, and rumba, Jazz, Russian dance, trendy dance.
Although Tenkatsu danced and experienced dancing throughout her life, it is hard to say that she has created a new world of dance to say strictly. However, she overwhelmed the audience with the inborn beauty and power of her dancing. As stated above, Tenkatsu introduced staff and actors(actress) from outside her group and it is reflective of her open-mindedness. Still her presence was so significant because the time she lived was one that has changed fast under the strong influence of Weatern culture. Tenkatsu attracted audience from Japan and nearby region as a leader even without creating her own dancing due to the aggressive openness and the human appeals.

영어초록

Tenkatsu troupe was a magic performance team that wanted to communicate with the audience by combining magic with other genres of performance. It appealed to the audience of the time when people were not familiar with the Western culture and goods. Tenkatsu troupe was sometimes seen as a circus troupe or a group of entertainers because of its program structure that accommodated diverse dances and reflected the trend of the time. However such structure played a big role in establishing itself as a public performance art group and a messenger of modern stage performance.
Tenkatsu troupe enjoyed a huge popularity from its founding in 1911 to the retirement stage in 1935 not only in Japan but also in Korea(then Chosun),Twaiwan, Manchuria, and the US. With its focus on technique and magic, Tenkatsu troupe embraced genres such as dancing, play, and music while it pursued splendid stage that is both interesting and modern by reflecting the trend of the time. To achieve modern and splendid performance, Tenkatsu troupe organized Chosiren(죠시렌) and trained its performance to learn Western dance, Japanese dance, acting,singing, playing instruments as well as magic. Chosiren(죠시렌) has gradually evolved into a revue group that backed the smooth and splendid stages of Tenkatsu troupe and played a key role as an integral part of Tenkatsu. Tenkatsu troupe introduced most famous directors, choreographers, writers, staff, and actors(actresses) to prepare a perfect stage. Choreographers played the role of enhancing the quality of performance by training Tenkatsu and Chosiren(죠시렌). The performances of Tenkatsu troupe were splendid and lavish. And at the center of the performance,there was always dance. Style of dance has changed over time reflecting the time and society, affecting the stage of Tenkatsu troupe.
In Seoul(then Kyongsung) between 1911 and 1935, various dances took places and they include modern dance, ballet, Jazz dance, and Japanese dance. By time, they include Woo Yui dance in 1913, Woo Yui dance Girls Dance, Butterfly Dance, Youth Dance in 1921, an applied magic play “Salome” in 1915, an applied magic dance play “Goddess of peace” in 1918, an applied magic dance play,“Dream Butterfly, Nerve Puppet, Girls Dance, Youth Dance” in 1921, and Jazz dance and three dances(gypsy dance, puppet dance, oriental dance) in 1926, Jazz dance, sketch revue, a Japanese court dance and music “La Mort Du Cygne” in 1929, and rumba, Jazz, Russian dance, trendy dance.
Although Tenkatsu danced and experienced dancing throughout her life, it is hard to say that she has created a new world of dance to say strictly. However, she overwhelmed the audience with the inborn beauty and power of her dancing. As stated above, Tenkatsu introduced staff and actors(actress) from outside her group and it is reflective of her open-mindedness. Still her presence was so significant because the time she lived was one that has changed fast under the strong influence of Weatern culture. Tenkatsu attracted audience from Japan and nearby region as a leader even without creating her own dancing due to the aggressive openness and the human appeals.

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