판소리창본의 공연문화콘텐츠적 성격 (Characteristics of Pansori Changbon from the Viewpoint of Performance Culture Content)

서지정보

· 발행기관 : 한국공연문화학회
· 수록지 정보 : 공연문화연구 / 16호 / 331 ~ 374페이지
· 저자명 : 홍순일

초록

이 논문은 공연문화콘텐츠의 관점에서 김연수가 신재효의 ‘판소리사설의 개작의식’을 계승하고, 오정숙이 김연수의 ‘판소리공연의 연극의식’을 전승하여, 관점상 신재효=김연수=오정숙의 관계가 성립된다고 보고, 판소리창본의 성격을 살핀 것이다. 판소리창본은 판소리행위주체자가 판소리공연에 겨냥하여 개발한 문화콘텐츠의 일종이다. 따라서 판소리공연의 기능환기와 문화콘텐츠개발의 의미부여는 판소리행위주체자가 소리판에서 패러다임의 변화에 대한 가치를 감지하고, 쟁점에 대해 깨달은 바를 판소리창본으로 제안한 방식이라고 하겠다.
① 19세기 중반기 ≪신재효본≫은 해설자가 춘향모를 자랑하고, 춘향모가 변사또를 변호하지 않는 방식을 취한다. 또한 기존의 판소리를 개작할 때 ‘공연상황’에서 판소리광대로 하여금 편집의 효과를 판소리관중에게 묻게 한다. ② 20세기 중반기 ≪김연수창본≫은 해설자가 춘향모를 자랑하는 방식에서 춘향모가 직접 자신을 자랑하는 방식으로 바꾸고, 춘향모가 변사또를 변호하지 않는 방식에서 변사또를 변호하는 방식으로 바꾼다. 또한 극상황이 요구할 때 반복하여 관용문을 사용한다. 그리고 ③ 20세기 후반기 ≪오정숙창본≫은 해설자가 퇴장한 것이 ≪김연수창본≫과 같으나, 극상황이 요구한다고 하더라도 반복하여 관용문을 사용하는 것을 피한다.
이처럼 판소리창본은 극상황에서 판소리광대들에 의해 갈등이 심화되고 해소되는데, 이러한 기능환기는 극적 아이러니를 통해 ‘희극정신’을 구현하는 일과 관련된다. ‘극본으로서 판소리창본의 성격’이 사회적 웃음을 통한 심리적 갈등의 해소로 변화되기 때문이다. 또한 판소리창본은 공연상황에서 판소리광대들에 의해 해설자가 퇴장하고 관용문이 생략되는데, 이러한 기능환기는 판소리창본이 ‘극적 아이러니’를 담게 되는 일과 관련된다. ‘판소리의 문화적 성격’이 상층으로 변화되기 때문이다.

영어초록

This study focuses on the characteristics of Pansori Changbon in terms of performance culture content. Namely, Pansori Changbon is a sort of culture content which was developed for the purpose of Pansori performance by Pansori performer. Therefore, the functional awakening of Pansori performance and the meaning endowment of culture content development are methods through which the performer perceives the value of paradigm in Pansori and express what he/she realized from the issue as the Pansori Changbon.
1) Pansori is a cultural resource and culture content is a possibility figure of Pansori culture resource. The Pansori performance based on the Pansori Changbon is the way on which the Pansori culture resource is developed into the performance culture content in terms of the cultural industralization of contents. The cultural industralization can be considered as another milestone to follow by which the Pansori culture resource should progress with culture contents in the 21st century of cultural era.
2) In regard to the device through which a person has a conflict/confrontation against a person, Chunhyang-ga Changbon shows that conflict becomes severe through conversations between Chunhyang and Byeon Hak-do, and settled through conversations between Chunghyang and Lee Doryeong. In Shimcheong-ga Changbon, the conflict increases through conversations between Shimcheong and Shim Bongsa and Shimcheong's monologs, unraveled via Shimcheong's conversations with Shim Bongsa. For Heungbo-ga Changbon, conversations between Heungbo and Nolbo stir up conflict (including Heungbo's monolog), and their talks resolve the standoff between them. In case of Sugoong-ga Changbon, conversations between the hare and the turtle and between the hare and the king of sea intensify conflict, and the hare and the king's dialogs soothe conflict. Jeokbyeok-ga Changbon presents that, even if conversations between Jojo and Yubok and between soldiers trigger a soldier's conflict, conversations between Unjang and Jojo settle the conflict.
3-1) In Pansori performance, Kim, Yeonsu succeeded to Shin, Jaehyo in 'adaptation spirit of the Pansori article', and Oh, Jeongsook took over Kim, Yeonsu's 'drama spirit of the Pansori performance,' and, in viewpoint, there are some relations established among Shin, Jaehyo, Kim, Heonsu and Oh, Jeongsook. Furthermore, the periodic features of Pansori Changbon become mentioned.
In detail, ① conflict becomes intensified and settled in Shinjaehyo-Bon in the mid-19th century's edition. Shin, Jaehyo composed that the narrator praises Chunhyang's mother, and Chunhyang's mother does not defend Byeon Satto. In adapatation of the previous Pansori, the performer asks the effect of adaptation to audience in 'performance situation.'
② Kimyeonsu-Changbon of the 20th century intensifies conflict and eases it. However, Kim, Yeonsu, in contrast to Shin, Jaehyo, made the performer adapt the way in which he/she boasts of Chunhyang's mother into the way in which Chunhyang's mother boats of herself directly, and change the situation in which Chunhyang's mother does not defend Byeon Satto into the situation in which she defends Byeon Satto. If the drama situation is required, he repeatedly uses idioms.
In addition, ③ Ohjeongsuk-Changbon of late in the 20th century, conflict becomes deepened and solved. However, Oh, Jeongsuk, on the contrary to Shin and Kim, evades repetitive use of idioms even in the requirement by the drama situation, even though the situation is the same as Kim in that the narrator makes his/her exit.
3-2) In Pansori Changbong, the fonclict intensification and the conflict settlement function was focused by the Pansori performer in the drama situation. This relates to the realization of 'the drama spirit' through dramatic irony. It is because 'characteristics of Pansori Changbon as a scenario' are changed into the settlement of conflict through social laughter. Moreover, In Pansori Changbon, the Pansori performer calls audience's attention to the narrator's withdrawing and using idioms in the performance. This relates to the fact that Pansori Changbon contains 'dramatic irony.' It is because 'the cultural characteristics of Pansori' are graded up to the upper class.

참고자료

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