≪조씨고아(趙氏孤兒)≫ 콘텐츠의 한국적 재현 연구 ― <조씨고아, 복수의 씨앗> 공연을 중심으로

권운영 ( Kwon Eunyoung ) 고려대학교 중국학연구소 2021 中國學論叢 Vol.- No.74

The Orphan of Zhao, the main research text of this paper, is one of China's tragic works, and related records can be found from the original historical book, Chunqiu. In particular, it is said to be a relatively complete form of historical examination in Shiji. This story was told as a play by Ji Junxiang of the Yuan Dynasty and given the title of The Orphan of Zhao. This study can be considered as presenting the results of comprehensive analysis from fragmentary research through to full-scale research, regardless of the genre of plays, novels, dramas, and movies, as well as the timing and transmission of epic literature on The Orphan of Zhao. It is not difficult to find reasons why Ko Sun-woong's The Orphan of Zhao is successful and loved. As a start, it can be said that he was faithful to the original work and had a great understanding of it. Secondly, it gained a lot of sympathy because it succeeded in narrating the probability and justification for revenge with a global universal sentiment through Korean sentiment. Another reason is the way Ko Sun-woong's unique humorous interpretation stands out clearly throughout the adaptation. In addition, the omission of the death scene was well expressed in an implicit manner. Also, rather than showing revenge as violence, the philosophical interpretation was remarkably directed by the futility of the conclusion. Finally, the tragic element was maximized by expressing the love of parents and longing for family very lyrically. As a result, we looked at each work and its content from various perspectives, and throughout this study, we try to understand the meaning and characteristics of Korean historical content as well as the meaning and basis of multiple narratives culturally in Korean and Chinese content. Through this study, understanding of historical figures related to The Orphan of Zhao can be improved, meaningful and interesting content or curricula can be developed by integrating contents that have not yet been organized in research papers with the results being used to develop educational materials. With the study of various contents in The Orphan of Zhao, it provides good data for a more in-depth understanding of China by understanding China's multiple cultures and comparing them with Korean perceptions and culture.

The Orphan of China in Voltaire’s Eyes: Analysis on Elements of Chinese Cultures in Ji Junxiang’s The Orphan of Zhao

Jindi Jiang,Mingxin Wang 강원대학교 인문과학연구소 2019 Journal of Humanities Therapy Vol.10 No.1

Elements of Chinese Cultures, those Confucian one particularly, help Voltaire unveil how the foreign country looks like and meanwhile serve as a crucial means of him in building its vast empire of literature. Through The Orphan of China, are written poetic drama based on Yuan verse The Orphan of Zhao which written by Ji Junxiang. Voltaire had Chinese Cultures and morality of Confucianism greatly propagated. In this drama, the Song Dynasty collapsed, but its conqueror Genghis Khanwa sultimately conquered by the Song cultures and virtues. Voltaire acclaimed the moral and spiritual excellence contained in The Orphan of Zhao and on the other hand satirized the spiritual deprivation and moral for forfeiture then in France, both of which accorded with his acceptance of The Orphan of Zhao. Voltaire presented The Orphan of China on the stage to dramatize elements of Chinese Cultures, and that was not a choice of art but rather that of culture, namely the Chinese moral culture.

한국 현대극의 <조씨고아(趙氏孤兒)> 서사 변용과 ‘복수’의 해석

당윤희 ( Dang Yun-hui ) 중국어문연구회 2016 中國語文論叢 Vol.0 No.76

The Orphan of Zhao(≪趙氏孤兒≫) is the Chinese ancient play written by Ji, Jun-xiang(紀君祥) of Yuan(元) dynasty, which was based on the historic story in Shiji(史記). In 2015, two Korean modern plays were performed which are 2. respectively named as The Orphan of Zhao, the seed of revenge and The Orphan of Zhao, the chivalric action. One was performed by the Korean National Drama Company, wining the several famous theatrical prizes including the very best director prize of the year, because it showed the successful acceptance of Chinese ancient play style and the meaningful theme that revenge is so nothing. The other was the action drama with music, chivalry and heroism and was performed by the new-young theater full of enthusiasm and energy, sending the message that the young people would live more ardently for the sacrificed old people. The two Korean modern plays reflected the modern Korean`s susceptibility about the revenge tragedy of the original narration of The Orphan of Zhao.

동시대 한국 무대의 중국연극

오수경 ( Oh Soo-kyung ) 한양대학교 동아시아문화연구소(구 한양대학교 한국학연구소) 2016 동아시아 문화연구 Vol.67 No.-

해방 이후 <뇌우>를 통한 리얼리즘 연극의 수용은 우리 연극사에서 공인되는 부분이다. 그러한 중국 리얼리즘 연극의 저력은 베세토연극제 참가작인 <천하제일루> 등을 통해 다시 확인되었다. 약 반세기에 걸친 단절의 기간 동안 중국은 리얼리즘 연극을 탄탄하게 다져 왔음을 말해준다. 그러나 실험극은 만날 기회가 많지 않았고 그 영향도 그리 크지 않았다. 우리가 만난 대표적인 중국 연극으로 가오싱젠과 티엔친신의 작품을 들 수 있다. 일찍이 80년대 초에 서구 현대극의 자유정신을 수용하고 실험극을 시도했던 가오싱젠은 예술의 자유를 위해 고독한 망명을 선택했다. 이는 반세기의 단절 이후 다시 만난 중국이 여전히 닫힌 사회로 예술을 통제하고 있기 때문이다. 그러나 그의 초기 작품들은 여전히 중국의 맥락에서 읽어야 하는 작품들이며 후기작들에서도 중국에 대한 문화적 기억들이 직조되어 있다. 그 후 뉴밀레니움을 전후하여 등장한 티엔친신은 중국 현대극에 새로운 표현 형식을 부여하며 주목받았다. 티엔친신은 자신의 예술적 열정을 표현 형식의 실험을 통해 발산하며 국립극단 상임연출가로서 중국연극계에 새로운 활기를 불어 넣었다. 중국의 상황이 아직도 많은 금기에 둘러 싸여 있기 때문에 진정한 실험을 기대하기는 쉽지 않지만, 새로 부상하는 젊은 세대들의 창작열과 실험정신에 주목해야 할 때다. 수교 후 20년을 넘기는 중국 연극 교류를 진행하면서 실망감으로 다소 지쳐 있던 2015년 우리 눈을 번쩍 뜨이게 한 것이 고선웅의 <조씨고아-복수의 씨앗>(국립극단)이다. 중국 연극도 우리와 마찬가지로 서구 연극을 학습해 왔고, 우리보다도 진도가 늦다. 따라서 중국 현대극에서 서구적 연극에서와 같은 새로운 이즘이나 창의 등 강렬한 무엇인가를 기대하는 것은 무리다. 그러나 중국은 오랜 전통극의 역사와 너무나 다양한 희곡 텍스트를 가지고 있고, 그것을 무대화하는 다양하고도 정교한 표현 양식을 수립하였다. 그런데 그 미적 감수성은 우리와 매우 큰 차이를 가지므로, 오히려 우리의 해석과 미감으로 재창작할 여지가 크다. 따라서 이번 <조씨고아-복수의 씨앗>는 중국의 고전 희곡 텍스트를 기초로 한 재창작의 가능성을 발견하게 해 주었다는 점에서 의미가 있다. Just after the liberation from Japan Colony in the year 1945, early plays of Cao Yu such as “Thunderstorm”, “Champaign”, “Sunrise”, were performed in Seoul. Especially “Thunderstorm” performed by the National Theatre of Korea in 1950 had made a great sensation and we all know Korean theatre had received a big influence of the realism at that moment. The power of realism theatre of modern China was confirmed again by the“The First House under Heaven” performed by the Beijing People`s Art Theatre at the First BeSeTo Theatre Festival on 1994. It means that through the half century Chinese theatre made a good succession and progress in realism theatre. But we had little chance to meet experimental theatre of China. There were only Gao Xingjian and Tian Qinxin whom we could have met in Korean stage. In early 80`s, Gao Xingjian received the influence of many streams of western modern theatre and cultivated his free spirit of art. He had written and directed several experimental playes such as “Bus Stop”, “The Other Shore”, but at last he had to chose exile to France not to loose his freedom to write. There were several performances of his plays “Emergency Signal” and “Bus Stop” on Seoul stage, but especially “Hades” and “Between Life and Death” of “The Gao Xingjian Festival in Seoul, 2011” had shown us the theatre aesthetics of Gao Xingjian who understand both culture of East and West well through our own interpretation and sensitivity. He is really an artist of free spirit, through him Chinese Modern theatre stepped up to experimental theatre with wide spectrum from modern to postmodern. Tian Qinxin is a young playwright and director of National Theatre of China, who are good at physical theatre and made her first workshop performance on Seoul stage of “The Ground of Life and Death” korean version at the Asian Director`s workshop in 2005. She kept a good relationship with Theatre troup Michoo along with “The Orphan of Zhao” as the performance of 20th anniversary of Michoo troup in 2006. she also presented her “Peach Blossom Fan”(traditional Kunqu opera) by Jiangsu-Kunjuyuan,“Red Rose, White Rose” by NTC, “Romio and Juliet” by NTCK to Korean audience. She tried to motivate her passion through different experimental way of expression. There were several young directors who participated BeSeTo Theatre Festivals or Asian Directors Festivals, though we may not be able to expect much something experimental because China still has many prohibition in thought and expression. But they try to express their own passion of creation and spirit of experiment as a young generation of China. More than 20years after the establishment of relationship between Korea and China have passed, but we couldn`t remember any really great production in regard to Chinese theatre, which touched our heart and left us deep impression. Finally in 2015, we met “The Orphan of Zhao” directed by Ko Sunwoong, produced by NTCK. The original text was written in 14th century of Yuan dynasty. But text is so full of theatricality for Ko Sunwoong, the adapter and director to feel great interest on it. Chinese traditional theatre not only established a very refined stylized acting system, but also promoted very skillful dramaturgy. Especially because director Ko has a belief that theatre is `play`, so it should be interesting, -actually this is a very distinctive characteristics motivated from Korean traditional theatre, he turned this heavy tragedy on Chinese stage into a very comic but very moving tragedy on Korean stage. This is a good trial case to show us the possibility of our own recreation based on the Chinese plays which have rich theatricality, also are so abundant in quantity. Now we can expect more from Chinese theatre not only from their excellent acting skill, but also from their old plays and the dramaturgy.

연극 《조씨고아, 복수의 씨앗》에 나타난 고선웅의 연출기법

정지호 ( Chung Ji Ho ),김학민 ( Kim Hak Min ) 한국연극교육학회 2019 연극교육연구 Vol.35 No.-

This study analyzes the principles and characteristics of directing by Go, Seon-Woong through 《The Orphan of Zhao Family, the Seed of Revenge》, produced by The National Theater Company of Korea, performed at Myeongdong Theater, and then grabbed the attention from the literary critics and public. Even though he joined the ranks of the representative play directors of Korea after the contemporary artistry and popularity were all recognized, it is almost rare to find studies on him. It might be because the spectrum of his directing is very wide and various as a changeable present-progressive director. Nevertheless, his diverse works show a common tendency of directing. Chapter2 comparatively analyzed 《The Orphan of Zhao Family》 by Ji, Jun-Xiang and 《The Orphan of Zhao Family, the Seed of Revenge」》 dramatized by Go, Seon-Woong. Even though Go, Seon-Woong used to be an author, he argues that the text should be newly changed into a performance script suitable for the director's concept and the performance production environment. On top of respecting the essential value of the original, he aims for the dramatization applying the contemporariness to the original. In stead of staying in the flat dramatization simply modified to strengthen the dramatic effect, he attempted the productive and strategic dramatization considering the audience's participation through dramatical grammar and active segment for realizing his own directing concept. In the results, it was changed into a performance script, filled with his characteristic humor and satire. This study examines Go, Seon-Woong's directing principles and characteristics based on the results of comparing the original and the dramatized. Especially, 《The Orphan of Zhao Family, the Seed of Revenge》 has a value of research in the aspect of overcoming the temporal / cultural differences of a Chinese classical tragedy, 《The Orphan of Zhao Family》written in the 12th century, and also acquiring the contemporariness. Chapter3 researched the playfulness shown in 《The Orphan of Zhao Family, the Seed of Revenge》. Through papers or interviews, he already argued numerous times that 'playfulness' would be the inherent characteristic of play, differentiated from other media. And he believed that the true meaning of audience could be established not as objects but as subjects through play. In stead of a part of scenes for creating the momentary playfulness, the play penetrated the whole work with the wings of satire and humor. In the results, diverse play concepts such as play on words, play using objets, personification of animals, and mask play inspire the vitality in scenes. Especially, what should be emphasized is the combination of play as a paradoxical strategy to strengthen the tragedy. The comic relief is to intentionally put comic scenes before or after a tragic scene to strengthen the tragedy of the tragic scene.

역사적 기억과 휴머니티로 다시 읽는 중국 고전 희곡, 〈조씨고아〉

오수경 ( Oh Sookyung ) 한국중국어문학회 2017 中國文學 Vol.93 No.-

The Orphan of Zhao Family (趙氏孤兒) is a very famous drama in the Chinese classical repertoire. Wang Guowei in his book, A Study of Song and Yuan Drama, paid high compliments to The Orphan of Zhao Family and The Resentment of Dou E as very rare tragedies among the Chinese drama. In this paper, I’m going to carry out a analysis study of the performances of The Orphan of Zhao Family directed by Koh Sun-woong(高宣雄), who is also a prominent Korean director, invited by the National Theatre of Korea for the production in 2015. Koh’s stage was pretty faithfully based on the Ji Junxiang’s Yuan drama version, because he found great narrative power in the play. But it disclosed the limits of that time, so director Koh developed much more meaningful interpretations of the revenge narrative. Koreans are familiar with Confucian ideas as Asian values, and can easily accept the value of loyalty and filial piety, but we can’t agree with the violence and massacre, especially because we still remember the period of Japanese occupation, the Korean War, the blood for democracy and the recent tragedy of the Sewol Ferry in our own modern history. So we wanted to reveal what the righteousness of the affair is, and to confirm the value of self-sacrifice for loyalty and faith, but not the violence and massacre caused by one man’s desire for power. That’s why he put a really poignant scene at the end in which nobody listens to Cheng Ying or even cares for him when, after the revenge of same massacre, he ends his life to report the result to his dead friends, though the massacre was held by the king who wanted to keep his power on. It totally collapses not only him but also all the audience as they realize that revenge is all for nothing. So the person in the black suit, who is an outside character of the drama, brings a message: not to make any problem among people and to live together with love during your short life. For the presence of historical memory, Koh used several different ways to show how it is remembered. Because the memory is usually one sided, not comprehensive, so at the beginning we only can watch a sketch about Chu Ni and Ling Zhe, and at the last scene Cheng Ying, the witness of the affair, revealed why Chu Ni died himself in that way and why Ling Zhe rescued Zhao Dun from danger through the explanation of the picture. The scene of Cheng Ying struggling with his wife to exchange his son and orphan not only leads the audience to an emotional peak but also lets them contemplate the conflict of human nature and the belief in social relationship. Because of the deep insight into human nature, I believe the scene added a new page in the history of performance of The Orphan of Zhao Family. Koh’s version gives us very strong message, not only in the theme and narrative, but also in presenting a very familiar, but fresh and impressive approach to the stage. Because Koh puts stress on theatricality and playfulness, he prefers an empty stage and very much depends upon the acting of the actors. The harmony of the actors and all the elements of the stage is the real virtue of this production. The most interesting characteristics of this production is the unique Korean style tragedy. The Orphan of Zhao Family is the famous so-called “Chinese tragedy,” and many directors feel the burden of how to present the tragedy. But director Koh approached it in his own Korean way, because Koreans used to use humor and satire lightly in dealing with deep sorrow and tragic fate. So the stage keeps on a speedy and cheerful rhythm until Cheng Ying’s son is dead in the first act and even until the orphan comes to know his own story of survival in the second act. The performance fully displayed the aesthetic of the empty stage of traditional oriental theatre in a very interesting way. I believe the production not only revealed the power of the narrative of Chinese classical drama, but also brought up a universal dialogue with deep and new interpretations, and also created an interesting new stage of Korean style tragedy. It also contributed to arousing new concern about the staging of Chinese classical drama.

논문(論文) : 영화 ≪조씨고아≫의 각색 양상 연구 -영아살해와 부친살해를 중심으로

신정수 ( Jeong Soo Shin ) 중국어문연구회 2014 中國語文論叢 Vol.0 No.61

The Orphan of Zhao, a Yuan drama about a feud between the Zhao and the Tu clans in ancient China, includes various kinds of death: from massacre and homicide to suicide and others. Among these deaths are two murders deemed “unnatural”: infanticide and patricide. The villain Tu Angu decimates the Zhao clan and kills an infant thought to be the last remaining member of the family; in fact, the baby is the child of the Zhao family’s doctor Zheng Ying, who has no other choice as his son is killed but to watch helplessly for the sake of saving the last heir of the Zhao clan, Gu’er. Fifteen years later, when he learns the truth, Gu`er immediately kills Tu Angu and redeems his family’s honor. The problem, however, is that the two have been as close as father and son. In his film Sacrifice (2010), the director Chen Kaige noticed this problem and adapted it in order to satisfy a contemporary audience. This paper examines Chen Kaige`s criticism of the original drama through the analysis of his cinematic adaptation.

<조씨고아, 복수의 씨앗>에 나타난 비극성의 고찰

김효 ( Kim Hyo ) 한국연극교육학회 2020 연극교육연구 Vol.37 No.-

The Orphan of Zhao(趙氏孤兒), the seed of revenge is a dramatic performance based on the Chinese ancient play written by Ji, Jun-sian(紀君祥) of Yuan(元) dynasty, and adapted to put it on the stage by Korean director Seon-Woong Ko. This performance was performed by the Korean National Drama Company, wining the several famous theatreical prizes including the very best director prize of the year. This paper attemps to clarify the tragic aspect, which was an important factor in the success of this perfrmance. In conclusion, it was found that this performance creates intense tragedy and deep emotion by combining western ideological codes with emotional codes rooted in Korean tradition. This performance provides a good example of how the fusion-based artistic method can be done to become an effective artistic method, which overcomes the limitations of superficiality encountered by intercultural theatre caracterized by western content in oriental style forming a trend in the 1990s.

원 잡극 『조씨 고아(趙氏孤兒)』의 비극으로 보는 정당한 복수의 방식

류영하(Ryu, Young-Ha) 한국동양철학회 2020 동양철학 Vol.- No.53

이 글은 원 잡극 『조씨 고아(趙氏孤兒)』의 비극을 통해 복수의 행위가 도덕적 정당성을가질 수 있는지 탐구해보는 것을 목적으로 한다. 복수의 형태는 법을 초월한 ‘사적인 복수’와 공정한 심판을 받는 ‘공적인 복수’의 형태로 나누어 볼 수 있다. 만약 가해자에 대한 처벌이 공정하게 처리되지 않거나 미적지근하다면, 피해자가 겪는 억울함은 사적인 복수로 힘을 실어줄 가능성을 가질 것이다. 그렇더라도 사적인 복수가 충분한 정당성을 갖지 않는다면 사회적 동의를 구하기 어렵다. 이렇듯 복수에 대한 정당성을 획득하는 과정은 매우 어려우며 동의를 구하기 쉽지 않다. 사적인 복수와 공적인 복수의 구분과 조화가 필요한 이유 중 하나는 바로 정의의 실현과 분노 사이의 균형을 유지하는 행위라는 데에 있다. 이 글에서는 이러한 균형을 실현한 복수를 ‘정당한 복수’로 지칭하기로 한다. 이런 점에서 원나라 잡극인 『조씨 고아』는 유학적 관점에서 정당한 복수의 특성을 잘 보여주는 하나의 모델을 제시하고 있다. 또한 사적인 복수와 공적인 복수 둘 사이의 양립 가능성 측면에서 정당한 복수에 대해 해석할 여지를 충분히 주고 있는 작품이다. 필자는 최종적으로 『조씨 고아』의 복수극을 공공성이 반영된 ‘직(直)’으로서 원한을 갚는 ‘이공보원(以公報怨)’으로 결론짓는다. In this paper, we are going to see how a tragedy arises, and study about the legitimacy, if any, that an act of vengeance can have. Throughout the time there have been numerous vengeance-themed literary works and ‘ vengeance’ has been a major theme in the field of literture till now. Vengeance can be classified in two forms, unlawful private vengeance and lawful official vengeance. A great part of vengeance-themed literary works are dealing with the private vengeances. Why are we so fascinated about the private vengeance then? It is because getting legitimacy of an act of vengeance and public consent to the act is a herculean task. How can those forms of vengeance, private and official, be explained in line with realization of justice? Why are we so enthusiastic about private revenge? The process of gaining legitimacy for revenge is very difficult and it is even harder to obtain public consent to the revenge. This article will look at the development process of the Chinese ancient play The Orphan of Zhao(趙氏孤兒), and explore whether revenge can have moral justification.

원잡극(元雜劇)의 수사법 번역 연구 -<조씨고아>를 중심으로-

왕호위,김성주 한중인문학회 2024 한중인문학연구 Vol.83 No.-

역사적 관점에서 보았을 때, 원잡극(元雜劇, Yuan Zaju)은 중국 고전 희곡 문학의 발전 과정에서 매우 중요한 단계를 차지한다. 희곡 문학의 복잡성과 독특성은 문학 작품 번역에서 많은 어려운 문제를 야기시킨다. 이 연구는 원잡극의 대표 작품인 <조씨고아(趙氏孤兒)>를 대상으로 한국어 번역문 2편을 비교분석하였다. 대부분의 번역 연구는 도착 텍스트에서의 수사법 재현에 집중하나, 이 과정에서 원문 텍스트의 특성이 손상될 수 있다. 따라서 이 연구는 텍스트 유형학적 관점에서 원문 텍스트의 특성을 먼저 조명하고 나서, 중국 고전 희곡의 문학성, 음악성, 무대성의 세 가지 특성을 밝혔다. 희곡 텍스트에서 음악성과 무대성은 문학성보다 더 중요한 역할을 하는데, 곡문(曲文)과 빈백(賓白, 대사)의 두 가지 구성 형식을 통해 표현된다. 이 두 가지 부분은 수사법을 통해 음악성, 무대성의 특성을 드러낸다. 그러므로 이 연구는 중국 고전 희곡의 창작 과정에서 널리 사용된 수사법(修辞法)에 주목하였다. 곡문(曲文)은 형식적 특징이 강한 첩어(疊語), 대우(對偶), 배비(排比)에 주목하고, 빈백(賓白, 대사)은 담화 효과를 높인 비유(比喻), 대우(對偶)를 대상으로 분석하였다. 도착 텍스트에서 이러한 특성이 이루어져야 도착 문화권의 독자들에게 원문 텍스트의 면모를 보일 수 있다. 이를 기반으로 희곡 텍스트의 형식적 구성으로서의 곡문(曲文)과 빈백(賓白, 대사)에 초점을 두고 희곡 특성을 충실히 반영하는 수사법의 예들을 중심으로 번역 전략을 검토하였다. 그 분석 결과, 비유(比喻)는 비슷한 관용어 바꿔 쓰기, 배비(排比)는 간결한 문장으로 표현하기, 첩어(疊語)는 의성어와 의태어를 사용하기, 대우(對偶)는 형식적 대칭뿐만 아니라 전후 문장의 내재적 결속성과 응집성을 고려해야한다. From a historical perspective, Yuan Zaju represents a very important stage in the development of classical Chinese dramatic literature. The complexity and uniqueness of dramatic literature raises many difficult problems in the translation of literary works. This paper compared and analyzed two Korean translations of The Orphan of Zhao, a representative work of Yuan Zaju. Most translation studies focus on the reproduction of rhetoric in the target text, but in the process, the characteristics of the source text may be compromised. Therefore, this paper will first examine the characteristics of the source text from a text typology perspective, and then identify three characteristics of literariness, musicality, and stagecraft in classical Chinese drama. Musicality and stagecraft play a more important role than literariness in the text of a drama, which is expressed through two compositional forms: Gokmun(lyrics) and Binbaek(dialogue). These two parts reveal the characteristics of musicality and stagecraft through rhetoric. Therefore, this paper focuses on the rhetorical theory widely used in the creative process of Chinese classical drama. Gokmun(lyrics) focuses on reduplication, antitheses, and parallelism, while Binbaek(dialogue) focuses on metaphor and antitheses. As a result of the analysis, metaphor should be translated by replacing similar idioms, parallelism should be expressed in concise sentences, reduplication should use onomatopoeia and mimetic words, and antitheses should consider not only formal symmetry but also the inherent cohesion and cohesion of the preceding and following sentences.