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장정룡 ( Jung Ryong Jang ) 한국공연문화학회(구 한국고전희곡학회) 2014 공연문화연구 Vol.0 No.29
춘향전은 조선후기에 발생한 가장 한국적인 판소리계소설로 영화, 연극, 드라마 등 다양한 장르로 시도되고 있다. 춘향전의 최초 중국공연은 한국전쟁 속에서 그 싹이 터서바로 이어서 공연되었다. 북한공연 화극(話劇)춘향전의 중국개편활동이 시작된 것은1950년대 초부터이다. 월극단원들은 한국전쟁에 참전한 중공인민해방군과 북한인민군을대상으로 공연을 하였다. 1953년 4월부터 8개월 동안 한국전쟁에 참전한 중공군을 대상으로 선무활동(宣撫活動)을 하였다. 1953년 7월 26일 북한 개성에서 춘향전을 본 상해화동월극단 제2단원들은 상해로 돌아와 월극으로 춘향전을 개편하여 공연하였다. 번역, 개작, 복색, 미술 등 어려움을 극복하고 1954년 8월 2일 월극춘향전이 공연되었으며 9월 25일부터 11월 6일까지 상해대회에서 1등상을 차지하고, 북경, 소주 등지에서도 공연하였다. 월극춘향전의 공연을 필두로 1955년에 경극(京劇)춘향전, 1956년에 평극(評劇)춘향전이 중국에서 공연되었다. 또한 1954년 북한 국립민족예술극단 방화(訪華)공연단이 춘향전을 북경에서 공연했다. 이후 1959년 북한영화 춘향전을 번역판이 중국에서 상영되었으며 1961년 상해월극단은 다시 북한을 방문하여 월극춘향전을 공연하였다. 이와 같이 춘향전은 1950년대부터 북경을 비롯하여 상해, 운남, 소주, 요령 등지에서 월극, 경극, 황매희, 조극 등으로 중국에서 다시 태어났다. 특히 광동성의 에 근거를 두고 있는춘향전 창곡집 표지에 1938年 3月 이라고 쓰였는데 그 공연여부는 알 수 없다. 이러한 중국의 춘향전 공연을 통한 문화교류활동은 전통극의 전파에도 기여하였다. 춘향전 중국공연의 각종 자료를 살필 때, 1950년대 비극적인 한국전란 중에 그 예술적 싹이 터서 바로공연활동이 진행되었다. 따라서 중국에서 펼쳐진 춘향전 공연활동과 국제화과정이 갖는의미는 특별한 현상이었다고 볼 수 있다. Chunhyangjeon, the story of Chunhyang based on the most Korean style pansori Chunhyangga written in the late Joseon Dynasty, has been performed in various genres such as films, plays, dramas, and so on. The performance of Chunhyangjeon in China had been started while the Korean War was happening. The performance of Chunhyangjeon as a drama and opera in North Korea has been started in the early 1950s. The members of Yueh opera, a form of Chinese opera, presented for the Military of the People``s Liberation Army of China and the North Korean Army participating in the Korean War. They have done the pacification activities to the Army of China for eight months from the April of 1953. The second members of Shanghai Huadong Yueh Opera performed Chunhyangjeon changed into yue opera style after returning to Shanghai from Gaesung, North Korea where they watched a Chunhyangjeon in the 26th of July, 1953. Overcoming difficulties about translating, remaking, the color and style of a uniform, fine arts, the yue opera Chunhyangjeon was performed in August 2, 1954 and the opera members could get the Grand Prix in the contest of Shanghai the 25th of September to the sixth of November. The opera was also performed in Beijing, Suzhou and other places. Starting with the performance of the yue opera Chunhyangjeon, the ping opera Chunhyangjeon performed in China in 1956. Banghwa Group Performances of North Korean National Ethnic Theatrical Troupe performed Chunhyangjeon in Beijing in 1954. Since then, the translated North Korean film Chunhyangjeon was shown in China in 1959 and Shanghai Huadong Yueh Opera visited to North Korea and performed Yueh Opera Chunhyangjeon in 1961. Similarly, Chunhyangjeon has been reborn since 1950s in the areas of Shanhai, Yunnan, Suzhou, Liaoning as well as Beijing as Yueh Opera, Peking opera, Huangmei Opera, Chaozhou opera. Little of the performances were known even though the "March of 1938" had been written on the song book cover of Chaozhou opera Chunhyangjeon based on the Southern drama in Guangdong Province, China. Such cultural exchange activities in China through the performances of Chunhyangjeon contributed greatly to the spread of the traditional drama. The performances of Chunhyangjeon in China were staged while the tragic Korean War was happening in 1950s. Therefore, such performances might show the unique phenomenon with the process of internationalizing Chunhyangjeon in China.
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김삿갓 문학활동의 1930년대 성과 고찰 -김재철·이응수·송영을 대상으로-
장정룡 ( Jang Jung-ryong ) 연민학회 2018 연민학지 Vol.30 No.-
This study looks into the research contents and works of those who researched and left works on Kim Satgat in the 1930s, which was relatively early period of the Korean literature research. Three researchers including Kim Jaechul (1907-1933), Lee Eungsu (1909-1964) and Song Young (1903-1978) are those who mainly developed the framework of 'Kim Satgat literature' in the 1930s. Kim Jaechul and Lee Eungsu were Kim Satgat researchers while Song Young was a Kim Satgat playwright. Lee Eungsu and Song Young defected to North Korea after the Korean War and passed away during literary activity. Their performances began in the 1930s and reached the 1960s, and have become a subject of discussion recently in our academia in the circumstance of the divided Koreas. Kim Jaechul who first began Kim Satgat research started serial publication of 'A Wandering Poet Kim Satgat' in 1930 in the Dong-A Daily News and largely contributed to introducing Kim Satgat to the world. Kim Taejun assisted Kim Jaechul's study of Kim Satgat and Kim Jaechil assisted Lee Eungsu's study of Kim Satgat. Therefore, there was a special relation between Kim Jaechul, Kim Taejun and Lee Eungsu in the context of Kim Satgat. Kim Jaechul and Kim Taejun were alumni of the Law and Literature Department of the Keijo Imperial University during the Japanese Invasion of Korea, and they largely contributed to the development of Korean literature by writing the 'Joseonyeongeuksa' and the 'Joseonsoseolsa'. It can be interpreted that their special interest in the ethnic literature during the Japanese Invasion of Korea resulted in a focus on the study of Kim Satgat. Song Young was involved in the Kapf literature and experienced changes in personal affairs from writing popular dramas and pro-Japanese dramas, but achieved results of writing around 50 workpieces including the presentation of a historical play 'Kim Satgat (3 acts and 6 scenes)' in South and North Korea. In fact, after the division of the country, the activities of Lee Eungsu and Song Young about Kim Satgat in North Korea have not been known for a while, but supplements were made as much as possible in this study. Meanwhile, Kim Jaechul has emphasized nationalism study and made certain achievements in establishing the ethnic literature, but such activity was discontinued after his early death. In conclusion, fierce studies and unique literature activities on Kim Satgat in the 1930s under the Japanese Invasion are highly rated in the research history for they were led by the new emerging intellects who shined like the morning star of the time. They motivated the interest in Kim Satgat and guaranteed important performances that established the literary framework of ethnic literature.
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