송순섭 명창의 생애와 판소리 철학

유민형 판소리학회 2020 판소리연구 Vol.49 No.-

Song Sun-seop is current holder of the Intangible Cultural Heritage of Pansori, for his mastery of Pansori <Jeokbyeokga>. He won the president’s award in 1994’s Jeonju Daesaseup competition. Not only that, he is devoting himself to publishing written repertoires of Pansori, and also a still active Pansori performer. In this paper I will attempt to sort his Pansori philosophy, which is about his systemization of vocalization and pronunciation of Pansori, his compilation of corrected Pansori text, and his influence in choreography and improvisation of Pansori. I define Song’s approach to his art as ‘Pansori Philosophy,’ because in his performance of Pansori he transcended from being just a performer, to a Pansori philosopher. He became so as he defined the text of Pansori in the context of pre-modern and modern literature, and he continues to try to revivify Pansori as an active art form.. 송순섭 명창은 박봉술 명창이 보유해온 동편제 <적벽가>를 적통으로 잇고 있는 판소리 적벽가 보유자이다. 또한 1994년에 전주대사습 판소리 명창부 장원을 차지하였고, 판소리 창본집 발간에 열정을 쏟고 있으며, 여전히 무대에서 활약하는 우리 시대의 명창이다. 이 논문에서는 판소리 철학과 관련하여 그가 성취한 명료한 판소리 발음에 관한 이론체계와 사설정리, 송순섭의 발림, 그리고 송순섭의 더늠과 즉흥성이라는 범주로 나누어 살펴보려 한다. 송순섭 명창의 생애와 예술관을, 타 연행자와 비교하는 맥락에서 ‘판소리 철학’이라고 이름붙이고, 그것을 논의의 핵심으로 삼고자 한다. 이 논문을 통해, 송순섭 명창이 연행에만 집중하는 광대의 일반적 행태를 넘어, 판소리의 본래적 의미를 되돌아보고 정확한 맥락을 찾아서 오늘의 청중‧관객에게 판소리의 활력을 되찾게 하고자 애쓰는, 분명한 철학을 가진 명창이라는 점을 살펴보기로 한다.

판소리 노정기(路程記)와 연행사(燕行使) 연행일기(燕行日記) -19세기 판소리 공연시장(公演市場)의 일면(一面)-

배연형 ( Yeon Hyung Bae ) 판소리학회 2009 판소리연구 Vol.28 No.-

This study presents a recomposition of the 19th century pansori (traditional Korean genre of vocal and percussion music) on the basis of the analysis of Joseon diplomats` Beijing travelogue, painting of Pyeongyang Mayor`s Inauguration Ceremony, and pansori Heungbo-ga song`s travelogue on swallows flying to Joseon from China. There are scanty data on the 19th century pansori. Most of pansori data were built after the 20th century, and that through oral transfer, making them less evidence-based. Joseon diplomats` travelogues on Beijing describes then actual pansori performances, making it very evidence-based, and even offer new, fresh information on pansori. Through the travelogue, it is learned that the size of the 19th pansori market in the Pyeongan-do and Hwanghae-do provinces was very large. Large cities like Pyeongyang and the said provinces where Joseon diplomats stayed provided an important performance site for pansori singers. According to various Beijing travelogues, various feasts for Joseon diplomats became important performing stages for pansori singers. Such Joseon diplomats` experience in performances well permeated in the pansori Heungbo song`s travelogue on swallows flying to Joseon from China. Folding screens featuring genre paintings, such as Pyeongyang Mayor`s Inauguration Ceremony, well depict the pansori performance. The fact that such many folding screens were produced in the said provinces suggests that the performance markets were well established there. The major pansori audience of Joseon was high-ranking military personnel, and pansori performers continued to visit them to perform as they traveled. The northern part of the Korean Peninsula, where soldiers and high-ranking military personnel lived, constituted a major pansori market. After the late 20th century, as pansori performers began to perform in their respective regions, this created unique regional pansori characteristics, triggering the creation of the present-day Jeolla-do style music.

판소리 대중화를 위한 문화콘텐츠 전략

최혜진(Choi Hye-jin) 비교민속학회 2004 비교민속학 Vol.0 No.27

Pansori should be enjoyed as a culture, Pansori should not only be appreciated but also a lively culture to experience. The tradition should not only be handed-down, but also developed. Pansori is a great culture, that has reflects our life and dream. but as long as it remains art, it will only be something that remains distant. That's why it should remain a culture, We should give more attention to Pansori, make it popular, globalise it. and In study presented examples, footnote pansori, reading pansori, easy pansori, database system. The popularization of Pansori is the main goal, it is a duty and a must for korea. We need to digitize Pansori, then it will be recognised as a culture and improved. We need to develope a simple Pansori, like interpretations, stories or modern text. We need to rewrite Pansori. When each korean can enjoy and sing a Pansori, then we have achieved our goal. It should not only be written in korean but translated into other languages that the world may recognise this culture.

판소리 문화관광 프로그램 현황과 과제

박정경 ( Jung Kyung Park ) 판소리학회 2008 판소리연구 Vol.25 No.-

Pansori is the representative Korean music genre constituted world cultural heritage sites by UNESCO for its excellent artistry. Nevertheless, it has unique vocalization, particular singing method and long difficult lyrics so that it could not be familiar with foreign people and even Koreans. In this conditions, it is very encouraging that several experience tour programs about Pansori are conducted recently and also got interest and positive evaluation from participants. this essay is about research the contents and characteristics of new-developed Pansori tour program and its effect in basic expansion of Korean traditional arts and tour revitalization. In this point of view, the meaning and suplementations of Pansori tour programs are proposed in here. The representative Pansori tour programs are Surveying the footprints of Pansori masters conducted in Korean Music Festival and I`m also Guimyeongchang;audience well-appreciation Pansori audience of the National Center for Korean Folk Performing Arts. Surveying the foot prints fo Pansori masters began in 2006 and I`m also Guimyeongchang began in 2007. It shows that Pansori tour industry stands in the starting point. The detail program contains watching Pansori or Changgeuk performance, experience singing Pansori in waterfall, and learning Pansori, surveying historic scene about Pansori. Pansori tour program offer the good contents to expend tour business in Korea, and it can play an important roll in developing Pansori to global classical art. Growing up local tourism and culture is another valuable meaning of Pansori tour program. While this good points, we must cognize some problems and improve the substances. First, we should have diverse daily schedule and program contents. Second, this tour must win the general publics containing students as well as devotee of Pansori over to its side by increasing the frequency of tour. Third, in the long view, Pansori tour program needs to be charged cultural item with more high quality and public friendliness. In conclusion, this essay suggests that various contents for Pansori tour will be possessed for commercialization and ruin and cultural sites about Pansori must be protected and well-developed to manage efficiently. Culture is not just kept and defended but is created newly. We need cultural identity to join world wide society in this global and information age. Pansori tour program is useful contents to spread Korean traditional music and Pansori through out the interesting experiences. The pride that Pansori is one of the most beautiful music may sprout up in this small work.

판소리 눈대목의 장르분화와 현대적 재창조의 과제 판소리<춘향가> 중 ‘사랑가’ 대목을 중심으로 -*

조순자 한국인간과자연학회 2022 인간과자연 Vol.3 No.2

The purpose of this study is to seek the task of genre differentiation and re-creation of Pansori, paying attention to the ‘Love song’ of <Chunhyangga>, which was developed through the deonum of several master singers. Today, Pansori ‘Sarangga’ is performed along with traditional Pansori in Gayageum Byeongchang, Changgeuk, crossover, fusion Korean music, and fusion genres. The details from the perspective of Pansori 'typical' are as follows. First, among the editorials of ‘Jajinsarangga’ handed down through the deonum(더늠) of Go Soo-gwan, ‘Eumsik Taryeong(음식타령)’ is sung by all singers regardless of school. Second, as a result of examining the musical characteristics, the buchimsae(부침새) and melodic composition of the lyrics were maintained without change in the same genealogy, and there were differences among the genealogies of different genealogies. However, the cadence of the melody appeared the same regardless of the class or genre. Third, Gayageum Byeongchang and Changgeuk, which are derived from genres of Pansori, maintained the lyrics as typical, and Gayageum Byeongchang had a change in melodic progression. Fourth, in the case of crossover, fusion Korean music, and fusion genres grafted with Pansori, the composition method of ‘Aniri-Chang’ was maintained in common, and there were differences by singers in melody or rhythm. The task of recreating Pansori in the 21st Century begins with identifying the elements of archetype. For the development of Pansori, traditional pansori must be handed down in its original form, and the typical elements that represent the essential characteristics of pansori must be maintained in grafting with other genres including creative Pansori and Gayageum Byeongchang. When the identity of Pansori-likeness is maintained, the meaning of re-creation as a modern transmission of Pansori can be secured. In the future, Pansori can spread in various aspects to create modern performing arts and be incorporated into the performance field. And I hope that related follow-up studies will continue. 본 연구의 목적은 여러 명창의 더늠으로 발전된 <춘향가>의 눈대목 ‘사랑가’에 주목하여 판소리의 장르분화와 재창조의 과제를 모색하는 데 있다. 오늘날 판소리 ‘사랑가’는 전통판소리와 더불어 가야금병창, 창극, 크로스오버, 퓨전국악, 융합 장르 등에서 공연되고 있다. 판소리 ‘전형’의 관점에서 살핀 세부적인 내용은 다음과 같다. 첫째, 고수관 더늠으로 전승된 ‘자진사랑가’의 사설 중 ‘음식타령’은 유파를 막론하고 모든 창자가 부르고 있다. 둘째, 음악적 특징을 살핀 결과, 동일계보에서는 사설의 붙임새와 선율구성 변화 없이 유지되었으며, 계보가 다른 창자들에서는 차이가 존재했다. 다만, 선율의 종지는 유파나 창자의 구분 없이 동일하게 나타났다. 셋째, 판소리의 파생 장르인 가야금병창과 창극은 사설을 전형대로 유지하였으며, 가야금병창은 선율진행에 변화가 있었다. 넷째, 판소리와 접목한 크로스오버, 퓨전국악, 융합장르의 경우 아니리와 창을 하나로 묶는 ‘아니리-창’의 구성방식이 공통으로 유지되었으며, 선율이나 장단에 있어 창자별 차이를 나타냈다. 21세기 판소리 재창조의 과제는 전형의 요소를 확인하는데서 출발한다. 판소리의 발전을 위해서는 전통판소리는 반드시 전형대로 전승해야 하고, 창작판소리, 가야금병창을 비롯한 타 장르와의 접목에서 판소리의 본질적 특징을 나타내는 전형의 요소가 유지될 수 있어야 한다. 판소리다움이라는 정체성을 유지할 때, 판소리의 현대적 전승이라는 재창조의 의미를 확보할 수 있다. 향후 판소리가 현대적 공연예술로 거듭날 수 있는 다양한 확산 가능성을 살려 공연현장에 접목할 수 있기를 바라며, 또한 관련 후속 연구가 이어지기를 희망한다.

판소리사에서 타령 문제 재론

배연형 판소리학회 2016 판소리연구 Vol.41 No.-

Pansori (a Korean epic chant) is a form of early modern music. Pansori adopted an easy rhythm form called Taryeong instead of slow, complicated rhythms. It also covered a universal theme of human liberation from status, power, poverty and war. All of which made Pansori a great success. Using the existing musical style of the Taryeong rhythm and offering lengthy storytelling with comical chatting and music, Pansori was created in the 18th century. In approximately 1800, Pansori established its own identity by introducing the Jungmeori rhythm which created a fresh turning point. In the early and middle 19th century, developing Jinyang rhythm Pansori also expanded its scope of musical expression. Soon after introducing Jinyang in Pansori, it finally established its rhythm style. Taryeong is the name of a form of rhythm and simultaneously an old name for Pansori. Taryeong-style Pansori, which featured storytelling with simple Taryeong (Jajinmeori and Gutgeori) rhythms, gradually disappeared with continuous development of new musical techniques, and completely vanished by early 20th century. As the locations of Pansori performances moved to theaters, Pansori changed from storytelling to complicated music. In modern times, the part played by Taryeong rhythm was generally replaced with the Jajinmeori rhythm, some part of that has since slowed and changed into Jungjungmeori rhythm. A section of Taryeong-style Pansori from early 20th century, the period of five great Pansori singers, has been recorded on a gramophone record (78 rpm record). And traces of this style can still be heard slightly in modern Pansori. Taryeong-style Pansori has several characteristics, such as being composed of one type of rhythm mixed narration and song lengthily, performed impromptu and simple melodies, and having nondistinctive dynamics or accents of rhythm. 판소리는 근대의 음악이다. 판소리는 느리고 복잡한 장단 형식을 벗어나 타령이라는 쉬운 장단을 도입하고, 신분과 권력, 가난과 전쟁으로부터 인간성 해방이라는 보편적인 주제를 내걸면서 큰 성공을 거두었다. 18세기 어느 시점에서 타령 장단이라는 기존의 음악어법을 사용하여 너스레와 노래로 긴 이야기를 엮어내면서 판소리는 시작되었다. 1800년 무렵에는 판소리에 중머리 장단이 도입됨으로써 새로운 전환점을 마련하면서 자신의 정체성을 확립하였다. 곧이어 19세기 초․중반 진양 장단을 개발함으로써 표현 영역을 확대하고 형식적 완성을 이루었다. 타령은 장단 명칭이자 판소리의 옛날 이름이다. 쉽고 단순한 타령(자진머리․굿거리) 계통의 장단으로 이야기를 엮던 타령조 판소리는 새로운 음악기법이 속속 개발되자 차츰 사라져서, 20세기 초에 이르면 거의 자취를 감추게 되었다. 연행 장소가 극장으로 옮아가자 판소리는 이야기 중심에서 복잡한 음악 중심으로 바뀌었기 때문이다. 타령 장단의 대목은 현대에 와서 대체로 자진머리 장단으로 정형화되었지만, 일부는 속도가 늦어지면서 중중머리 장단으로 변하였다. 타령조 판소리는 20세기 초반 5명창 시대의 유성기음반에 일부 남아 있고, 현대 판소리에서도 그 흔적이 얼마간 남아 있다. 타령조 판소리의 특징은 한 가지 장단으로 말과 소리를 섞어가면서 길게 짠다든지, 즉흥적인 선율로 엮어간다든지, 쉽고도 단순한 선율을 사용하여 말하듯이 엮어간다든지, 장단의 눈(강약이나 엑센트)이 분명하지 않을 때가 많다는 등 여러 가지 특징이 있다.

판소리 패트론으로서의 대원군과 박유전 <적벽가>의 변모

유민형 ( Yoo Min-hyung ) 한국공연문화학회(구 한국고전희곡학회) 2019 공연문화연구 Vol.0 No.38

이 논문은 판소리의 발달 과정에 영향을 미친 역사적 요소 중 판소리의 ‘패트론’의 비중을 점검하고자 시도되었다. 문화예술의 향유계층인 동시에, 후원자로서 발달에 큰 영향을 미치는 존재인 패트론은, 서양 예술의 역사를 분석함에 있어서는 그 존재가 적극적으로 논의되어 왔다. 여러 장르의 예술에 있어서 패트론의 영향력은 언제나 중요하게 연구되었다. 판소리의 패트론은 좌상객으로 통칭되는 양반층이었는데, 판소리가 양반층 사이에 애호되면서 왕실 패트론도 생겨나게 된다. 흥선 대원군은 판소리애호가로 유명했으며, 또한 판소리 명창의 패트론으로서 후원했다. 대원군은 통인청대사습을 통해 판소리를 후원함과 동시에, 판소리의 선발 과정에 개입함으로써 패트론으로서의 역할을 담당하게 된다. 그리고 운현궁을 중심으로 활동한 가객 안민영과 함께 판소리 명창으로 박유전을 후원하였다. 대원군이 아직 세도를 잡기 전 전주에서 머무를 때 전주의 토호였던 백진석에게 도움을 받았다. 대원군은 세도를 잡게 되면서 전주에 통인청대사습 운용에 관여하였고, 백진석의 청을 들어서 전주에 판소리 감상용의 저택인 학인당(學忍堂)을 지을 수 있게 하였다. 대원군이 특히 후원했던 판소리 명창으로 박유전을 들 수 있다. 박유전은 대원군의 운현궁에서 좌상객들의 영향아래, 자신이 기존에 보유하고 있던 판소리의 텍스트와 음악을 변화시킨 것으로 보인다. 박유전은 순창출신의 명창으로 서편제의 비조로 불렸고, <심청가>와 <적벽가>로 이름을 날렸다. 그의 제자로는 이날치를 들 수 있고 초기 박유전의 소리는 이날치를 통하여 서편제로 전승되었다. 박유전이 한양으로 와서 운현궁에 머무르게 되면서 그가 이전에 가지고 있던 소리는 창곡과 사설에서 많은 변화를 가지게 된다. 그래서 박유전의 판소리는 이원성을 띠게 된다. 대원군은 박유전 판소리의 변화과정에서 크게 영향을 미친 인물이다. 박유전이 운현궁에서 다듬어 정제화한 판소리가 이른 바 강산제이다. 박유전이 한양으로 오기 전의 소리인 서편제와, 한양에서 다듬어 새롭게 완성한 강산제와는 완전히 구별될 수 있을 정도로 음악, 사설, 그리고 이념적 기반에서 차별화되어 있다. 그 변화의 모습을 동편제 및 서편제 <적벽가>와 강산제 <적벽가>의 비교분석을 통하여 살펴보았다. 강산제 <적벽가>는 사상적으로는 유교적인 이데올로기를 일관적으로 띠게 되며, 조조에 대한 야유와 비하의 수위가 동·서편제 적벽가에 비하여 훨씬 약화되어 있다. <삼국지연의>에서 장수들의 전투장면을 사설에 재인용하여 포함시킨 부분과, 한시의 적극적인 인용을 늘린 것 또한 양반좌상객의 취향에 부합하여 변화한 부분이다. This research argues that Pansori had patrons in its development. Patrons are commonly discussed aspect of history of any art form. Pansori is no exception. While Pansori originally began as the art of the common people, Yangban class became the primary audience. This paper examines the role of royal family of Choson dynasty in development of Pansori. Heungseon Daewongun (흥선대원군) in particular was a Pansori aficionado. The record around Daewongun's involvement to Pansori proves that heavy monetary investment was made. He hosted Pansori competitions and sponsored creation of Pansori tradition, Boseong Sori (보성소리) and Gangsanje (강산제). Also the aspect of Pansori patronage lies not just in Yangban class, but also in Jung'in class, which is roughly analoguous to European bourgeois in that they were not of Yangban class, but had gained monetary status, and had aesthetics of both Yangban and commoner class. I argue that Heungseon Daewongun's ties to the Jung'in class is reflected in his actions towards Pansori artists. The traditions he had sponsored have important characteristics, including sophisticated lyrics heavily utilizing Classical Chinese poetry, highly artistic musical composition, and conservative Confucian ethics. Those characteristics indicate that the Pansori traditions sponsored by the royal patrons have changed to cater to their artistic taste and philosophy. This paper conducts a textual comparative analysis between Gangsanje Pansori Jeokbyeokga (강산제 판소리 적벽가), Dongpyeonje's Pansori Jeokbyeokga (동편제 판소리 적벽가), and Seopyeonje Pansori Jeokbyeokga, who share the same plot yet offers a stark differences in tone, philosophy, and sense of humor. Daewongun was a primary sponsor of Pansori, which proves that Yangban class and the royal family have played important role as patrons of Pansori.

판소리의 매체 대응 양상과 뉴미디어 시대 판소리의 미래

서유석 ( Seo You Seok ) 판소리학회 2022 판소리연구 Vol.54 No.-

뉴미디어 시대의 판소리는 두 가지 방향성을 가지고 발전해나가야 한다. 다양한 매체 변화 속에서 판소리는 언제나 최선의 대응을 해왔지만, 매체의 특성을 정확히 이해하면서 그 매체의 특성 안에서 새로운 판소리의 모습을 만들어내는 데에는 성공하지 못했기 때문이다. 공연환경의 변화와 음반, 라디오와 같은 소리 중심의 매체의 등장은 이미 음악적 성취에 치우쳐 있던 판소리의 예술적 의미를 강화했을지는 모르나, 반대로 판소리가 가지고 있던 연행성을 약화시키는 문제점을 낳았으며 소리 중심의 매체는 판소리를 오롯이 담아낼 수도 없었다. 판소리는 ‘보고 듣는’ 연행 예술이기 때문이다. 하지만 뉴미디어 시대의 판소리는 새로운 시도를 보여주고 있다. <범 내려온다>는 판소리라는 범주에서 탈피해서, 오히려 뉴미디어의 매체적 속성을 정확히 반영한 새로운 판소리, 정확히는 판소리가 아닌 판소리의 미래상을 보여주고 있다. 뉴미디어 시대의 판소리가 뉴미디어의 매체적 속성을 제대로 활용하기 위해서는 판소리라는 기존의 장르적 특성에서 벗어날 필요가 있다. 판소리를 바탕으로 하는 새로운 장르로의 변화 혹은 진화가 필요한 셈이다. 뉴미디어 영상매체는 이제 자신들만의 새로운 영상 문법을 만들어 내고 있다. 이들 영상 이미지는 이야기를 재현하기보다는 이미지로 설명하거나 감각적으로 표현하는 데 중점을 두고 있기 때문이다. 그렇다고 전통판소리의 형식이 사라지거나 무의미해지는 것은 아니다. 21세기 판소리는 두 가지 갈래로 나누어 서로를 인정하고 함께 발전해나가야 한다. 뉴미디어의 매체적 특성을 제대로 반영한 완전히 새로운 판소리와 무대 위의 현장성과 연행성을 살리는 전통판소리의 형식을 살린 새로운 창작판소리가 그것이다. 맥루한의 지적을 다시 한 번 살펴야 한다. ‘매체는 사라지지 않고 더해질 뿐이기’ 때문이다. In the new media era, Pansori, a Korean genre of musical storytelling, should develop toward two directions. This is because Pansori has always responded in the good possible way amid various media changes but has not succeeded in creating a new Pansori image within the characteristics of the media, while accurately understanding them. The change in the performance environment and the emergence of sound-oriented media such as records and radio may have strengthened the artistic meaning of Pansori, which was already biased toward musical achievement, but conversely, it caused a problem of weakening the performativity that Pansori had, and the sound-oriented media could not capture Pansori as it is. This is because Pansori is a performing art of “seeing and listening.” However, in the age of new media, Pansori is making new attempts. Tiger Is Coming breaks away from the category of Pansori, and rather shows a new Pansori that accurately reflects the media properties of new media, not Pansori, but Pansori's future. For Pansori to properly utilize the media properties of new media, Pansori needs to break away from its existing genre characteristics. Pansori needs to change or evolve into a new genre based on Pansori. New video media are now creating their own new video grammar, as these video images focus on explaining or sensually expressing a story, rather than reproducing it. This does not mean that the traditional Pansori form disappears or becomes meaningless. In the 21st century, Pansori should be divided into two branches, and they should acknowledge each other and develop together. These form the completely new Pansori that properly reflects the media characteristics of new media, and the new creative Pansori that utilizes the traditional Pansori form that relies on stage presence and performativity. McLuhan's point should be examined once again. This is because “media does not disappear, it only adds.”

20세기 전반기의 경상도 지역의 판소리문화 연구

김석배 ( Sug Bae Kim ) 판소리학회 2012 판소리연구 Vol.33 No.-

Gyeongsang Province has been known as the wasteland of pansori, but it is not true according to 『Joseonchanggeuksa』. It is assumed that Gyeongsang Province began to play a role in the history of pansori in the late 19th century, and developed into a region of production and consumption of pansori like Jeonla and Chungcheong Provinces in the 20th century. This thesis has explored pansori in Gyeongsang Province during the first half of the 20th century. The results are as follows. First, Gyeongsang Province was in the scope of Dongpyeonje pansori. Pansori singers in Gyeongsang Province in the late 19th century were Song Heungrok, Park Mansun, and Kim Jecheol. Those in Gyeongsang Province during the first half of the 20th century were Park Kihong, Song Mangab, and Lee Dongbaeg. Dongpyeonje Pansori controls emotions on the basis of majestic, mild and strong Ujo and rich voice, and does not use any skill with the help of Daemadidaejangdan. The reason why Gyeongsang Province favored Dongpyeonje pansori may be that the characters of Dongpyeonje pansori was similar to those of the people living in Gyeongsang Province. Second, those who taught pansori at Kwonbeon in Gyeongsang Province during the first half of the 20th century were Park Kihong, Song Mangab, Lee Dongbaeg, Yu Seongjun, Lee Seonyu, Jeong Jeongryeol, Jo Hagjin, Park Jihong, Kang Taehong, and Park Dongjin. With the advent of Kang Sochun, Kim Chuwol, Kim Chohyang, Park Rokju, Park Gwihui, and Sin Geumhong. Gyeongsang Province also became a producing place of great pansori singers and pansori. Third, the handing down of pansori during the first half of the 20th century occurred at Kwonbeon. Some representative Kwonbeon were Dalseongkwonbeon, Kyeongjukwonbeon, Dongraekwonbeon, Bongraekwonbeon, Jinjukwonbeon, and Namseonkwonbeon. Pansori was mostly performed at a theater, such as Daegukeugjang, Mangyeongkwan, Daegugonghoedang, Kimcheonkeugjang, Kyeongjukeugjang, Pusangonghoedang, Sujwa, Kongrakgwan and Jinjujwa.

판소리의 현대화를 위한 번역 현황과 방향

장미영(Jang Mi-young) 韓國批評文學會 2010 批評文學 Vol.- No.36

Pansori has been translated into the modern Korean language through 3 stages. The first stage was to collect and file-up the Pansori passed on by oral tradition. The epic chants before then had not been worthy of historical materials as it had been arranged just individually and sporadically. In addition, some of the epic chant were out of date which needed to be re-arranged and others no more existed and others were newly formed. So it was essential to compile the epic chants mainly well transmitted. The epic chant collecting work was focused on a popularity basis and classified by school, 바디(body) and singer. As the Pansori reflects a traditional life and language, there are many parts which are difficult for modern people to understand. The reason for that is because not only there are some misinformation but also language used for the Pansori is old version spoken more than 200 years ago resulting. Annotations were made in the report as the aim for the study was to make ordinary people fully understand the Pansori. Modernization of Pansori needs outstanding knowledge of Korean classical literature, ancient language and chinese characters. Considering the fact, The study has relied on the advice of scholars majored in Chinese characters, Korean classical literature and ancient language research in order to get accuracy. The results of the 2nd stage work were used for translating Pansori into modern Korean language. The process of translation into modern language is divided into the first work concentrating on a meaning transmission and the second work putting the former to directly apply to Pansori. All two works can be used for a caption which helps audience’s understanding of the Pansori on the stage. For translation of Pansori into modern language, first, it is necessary to change the old sayings, a name of place in China, proper nouns, a proverb into the modern expressions and, secondly, considering the fact that Pansori is spoken in Cholla dialect, it is necessary to change it to the standard language. Third, the sequence of tenses is needed because Pansori as a performance language normally ignores tenses. As Pansori is used not only as a reading book but also as a sing or performance, there should be good translation expressing the wonderful rhythm, rhyme and colloquiality of the Pansori. There also should be a standardization of Pansori epics which have varied from singers to singers. The translation of Pansori epic chants will be the major national achievement of Korean culture in the future.