조용필의 노래와 맹자적 전통

홍호표 한국일본사상사학회 2009 일본사상 Vol.0 No.17

Korean Superstar Cho Yong Pil is a ‘singer of meta-genre’ from the viewpoint of various music genres which he writes and sings. We may also say that he is a ‘singer of the Supreme Ultimate(t'ai-chi)’ in the sense of ‘non-chi being t'ai-chi’(無極而太極). He has not only inherited the tradition of Korean music, but also absorbed the popular elements of western music and created his own unique style mixing and melting all the elements. This research is an inquiry into the musical backgrounds and philosophical roots of the songs by Cho by analysing his lyrics in light of Mencius' thought. Korean people have cherished the thought of Mencius for long time and invested it with their heartstrings and emotions. Mencius' main idea is that human nature endowed by ‘Heaven’ is good and as pure as the heart of infants is. It is called the theory of ‘the original goodness of human nature’. Everyone has to cultivate his mind continuously by reducing and overcoming selfishness and greed and to rehabilitate ‘human nature’ if lost. Then every human being takes root in ‘Heaven’(or God) and is connected each other to be ‘one’ through the root. The idea is called ‘the union of Heaven and humanity’. The point is that every individual is not separated from each other, but has one root shared with all other individuals. Understanding this, we can recover our original nature. Seeking lost mind and ‘serving Heaven’ leads to the real world paradise where all the people enjoy everything together and be happy as harmonious as an excellent orchestra. That is the key to the throne of the righteous government with ‘the rule of right’ instead of ‘the rule of might’, according to Mencius. Ideal is reality in Confucius-Mencius tradition. Then the ‘ideal-real’ world ruled by itself could be real as it has been. But men make mistake of understanding that the Nature is not real precisely because his(her) own greed functions as something like a wall between the Nature and himself(herself). Mencius emphasized that the practice of love(humanity) must start with the family and expand it to the world. Cho covers various kinds of themes such as dream, the world of children's heart, friendship and nature including love and separation. This analysis tells that most of the songs come from ‘pure heart’, not from ‘selfishness’. This means that humanity and heaven are not separated in his songs and the songs seek to be at the stage at least. For example, Cho's dream songs represent the dreams which exist in real world and should be real, premised on the thought that every human being is infinite. His songs on the world of children's heart lead us to some ‘infantalizing experience’. He excludes themes such as flirting, passion, temptation and wooing which are to appeal directly to five senses in oder to seek interests. The crucial point, his creativity aside, is that Cho as a longrun outstanding superstar always stays in ‘centrality’ and has shown it to the people timely whatever genre and theme he sings, acclimatizing himself to new surroundings as the times change. ‘Centrality’ is more important than ‘commonality’ in the tradition. Even if his ideas were well in advance of the age, he would try to read and represent ‘the people's mind’ staying in ‘centrality’ while not simply to play to the gallery. This means his songs are the expression of the people. Cho says “Music is the expression of something in my mind”. The most important in Mencius tradition is the challenge that the singer restores the human nature of compassion and righteousness by ‘enveloping his or her mind to the utmost’. Cho is “the only Korean singer whose songs are sung and heard with equal enthusiasm in the elementary schools as well as in the senior citizens centers.” This shows why he is ‘the national superstar’ with the widest possible range of popularity. In this mundane world of putt... Korean Superstar Cho Yong Pil is a ‘singer of meta-genre’ from the viewpoint of various music genres which he writes and sings. We may also say that he is a ‘singer of the Supreme Ultimate(t'ai-chi)’ in the sense of ‘non-chi being t'ai-chi’(無極而太極). He has not only inherited the tradition of Korean music, but also absorbed the popular elements of western music and created his own unique style mixing and melting all the elements. This research is an inquiry into the musical backgrounds and philosophical roots of the songs by Cho by analysing his lyrics in light of Mencius' thought. Korean people have cherished the thought of Mencius for long time and invested it with their heartstrings and emotions. Mencius' main idea is that human nature endowed by ‘Heaven’ is good and as pure as the heart of infants is. It is called the theory of ‘the original goodness of human nature’. Everyone has to cultivate his mind continuously by reducing and overcoming selfishness and greed and to rehabilitate ‘human nature’ if lost. Then every human being takes root in ‘Heaven’(or God) and is connected each other to be ‘one’ through the root. The idea is called ‘the union of Heaven and humanity’. The point is that every individual is not separated from each other, but has one root shared with all other individuals. Understanding this, we can recover our original nature. Seeking lost mind and ‘serving Heaven’ leads to the real world paradise where all the people enjoy everything together and be happy as harmonious as an excellent orchestra. That is the key to the throne of the righteous government with ‘the rule of right’ instead of ‘the rule of might’, according to Mencius. Ideal is reality in Confucius-Mencius tradition. Then the ‘ideal-real’ world ruled by itself could be real as it has been. But men make mistake of understanding that the Nature is not real precisely because his(her) own greed functions as something like a wall between the Nature and himself(herself). Mencius emphasized that the practice of love(humanity) must start with the family and expand it to the world. Cho covers various kinds of themes such as dream, the world of children's heart, friendship and nature including love and separation. This analysis tells that most of the songs come from ‘pure heart’, not from ‘selfishness’. This means that humanity and heaven are not separated in his songs and the songs seek to be at the stage at least. For example, Cho's dream songs represent the dreams which exist in real world and should be real, premised on the thought that every human being is infinite. His songs on the world of children's heart lead us to some ‘infantalizing experience’. He excludes themes such as flirting, passion, temptation and wooing which are to appeal directly to five senses in oder to seek interests. The crucial point, his creativity aside, is that Cho as a longrun outstanding superstar always stays in ‘centrality’ and has shown it to the people timely whatever genre and theme he sings, acclimatizing himself to new surroundings as the times change. ‘Centrality’ is more important than ‘commonality’ in the tradition. Even if his ideas were well in advance of the age, he would try to read and represent ‘the people's mind’ staying in ‘centrality’ while not simply to play to the gallery. This means his songs are the expression of the people. Cho says “Music is the expression of something in my mind”. The most important in Mencius tradition is the challenge that the singer restores the human nature of compassion and righteousness by ‘enveloping his or her mind to the utmost’. Cho is “the only Korean singer whose songs are sung and heard with equal enthusiasm in the elementary schools as well as in the senior citizens centers.” This shows why he is ‘the national superstar’ with the widest possible range of popularity. In this mundane world of putting int...

문화적 관점으로 본 스타 부흥사 이용도

전인수(Jeon In-Soo) 연세대학교 신과대학(연합신학대학원) 2009 신학논단 Vol.57 No.-

Yong Do Lee has been classified as a mystic. This is based on the specific quality of his faith. This paper makes clear the origin of Yong Do Lee's mystical faith and how he used it to reform the church. It also analyses his revival service as a cultural phenomenon and him as a super-star of Christianity. This analysis considers the revival service as a social or cultural phenomena and will present the reason Yong Do Lee was so popular in Korean Christianity, arguing that he is the origin of Jesus Church. Until now, there has been no explanation on Yong Do Lee as a star of Korean Christianity and his social phenomenon. During the period of Japanese occupancy, there were many pastors who paid attention to the revival service, which had important cultural elements in Korean Christianity. While others considered mysticism as a way of individual meditation, Yong Do Lee introduced it to the church revival and gave a new, vital power to the churches through asceticism meditation. Young age, unlimited love, prayer, and sermons calling people to compassion caused him to have many ardent followers, and their gatherings were so enormous. His pictures were famous among believers, and many letters had the quality of modem fan letters to superstars. The revival services he led were similar to people coming to a concert seeking a superstar. Yong Do Lee was especially popular among the women believers. The analysis of these specific features show that Y ong Do Lee had the some of the same characteristics as a superstar, which was different from other revival leaders. Yong Do Lee was criticized because he rebuked other pasters in his sermon, and eventually he collapsed from the false prophecy of Joon Myung Han in 1932. But his followers continued to participate in Yong Do Lee's church, showing people their cohesive power. Yong Do Lee gained popularity from the whole country, but especially in the northwest regions of P'yongyang and Pyongan-Namdo. Yong Do Lee has been classified as a mystic. This is based on the specific quality of his faith. This paper makes clear the origin of Yong Do Lee's mystical faith and how he used it to reform the church. It also analyses his revival service as a cultural phenomenon and him as a super-star of Christianity. This analysis considers the revival service as a social or cultural phenomena and will present the reason Yong Do Lee was so popular in Korean Christianity, arguing that he is the origin of Jesus Church. Until now, there has been no explanation on Yong Do Lee as a star of Korean Christianity and his social phenomenon. During the period of Japanese occupancy, there were many pastors who paid attention to the revival service, which had important cultural elements in Korean Christianity. While others considered mysticism as a way of individual meditation, Yong Do Lee introduced it to the church revival and gave a new, vital power to the churches through asceticism meditation. Young age, unlimited love, prayer, and sermons calling people to compassion caused him to have many ardent followers, and their gatherings were so enormous. His pictures were famous among believers, and many letters had the quality of modem fan letters to superstars. The revival services he led were similar to people coming to a concert seeking a superstar. Yong Do Lee was especially popular among the women believers. The analysis of these specific features show that Y ong Do Lee had the some of the same characteristics as a superstar, which was different from other revival leaders. Yong Do Lee was criticized because he rebuked other pasters in his sermon, and eventually he collapsed from the false prophecy of Joon Myung Han in 1932. But his followers continued to participate in Yong Do Lee's church, showing people their cohesive power. Yong Do Lee gained popularity from the whole country, but especially in the northwest regions of P'yongyang and Pyongan-Namdo.

문학교육은 저자성의 변화를 어떻게 수용할 것인가?

김성진 한국어교육학회 2021 국어교육 Vol.- No.173

This study examined the plagiarism debate surrounding Shin Kyung-sook's "Legend" and Park Min-gyu's "The Last Fan Club of Sammi Superstars". The former had some plagiarized sentences from Mishima Yukio’s "Ukuk"; however, the entire work cannot be viewed as plagiarism. Kyung-sook’s "Legend" was influenced by Mishima Yukio, but the author failed to acknowledge this influence. Park Min-gyu's "The Last Fan Club of Sammi Superstars" embodied his own ideas using Internet posts, for which Min-gyu expressed his gratitude to the bulletin board creator. Given that it is difficult to determine the original author or origin of Internet humor or stories, we cannot accuse Park of plagiarism. On examining these plagiarism issues, it is possible to confirm three authorships: modern authorship where the author is the only creator of his work, and medieval authorship where the author is the annotator of canonical texts, and postmodern authorship where the author creates new texts by freely assembling various preceding texts. The three aforementioned principles coexist with "Legend" and "The Last Fan Club of Sammi Superstars". To date, literature education has emphasized the role of learners as good readers. Given the changing nature of authorship, it is necessary to emphasize the ability of learners to actively produce their own texts. In order to link the learner's reading of a literary work with their ability to produce their own texts, this study uses the phrase “reinforcing the reader's authorship,” which can be realized through production-oriented and creation-oriented literature education.

힐링을 위한 문학교육 1-문학, 힐링, 그리고 문학교육 : 박민규 장편 소설에 나타난 치유 서사 연구

김성진 ( Sung Jin Kim ) 한국문학교육학회 2014 문학교육학 Vol.43 No.-

This paper took notice of narrative of healing appearing in Park Min-gyu`s novels including ``Sam-mi Superstars`` Last Fan Clu``(『삼미 슈퍼스타즈의 마지막 팬클럽』), ``Pingpong``(『핑퐁』), and ``Pavane for a dead princess``(『죽은 왕녀를 위한 파반느』). These works contain contents of healing the anxiety about the future of youths to which they became accustomed after the 1997 Foreign Exchange Crisis in a peculiar way. In Sam-mi Superstars` Last Fan Club, the hero who was dismissed from the company finds a life directly opposite to a professional life in which priority is given to competitiveness. He absorbs pieces of mentor`s advice, and opens up a new direction of life according to the advice. It may be called ``mentor initiated healing narrative,`` and principal characters are shown to have characteristics of the relation between ``doctor and patient`` as shown in psychiatry. Pingpong narrates lives of two heroes who are changed to make active decisions on the life in the middle of playing table tennis. The role of a fantastic character named ``Sekratang`` appearing as an advisor in the novel is limited. He lets the heroes have their own way to the expression of their desires by utilizing him. It may be called ``self initiated healing narrative,`` and principal characters are shown to have characteristics of the relation between ``analyzer and subject`` as shown in psychoanalysis. While narrative of healing appearing in these two works is contained in the works, in Pavane Pour Une Infante Defunte, it calls out readers as companions for the problem solving by utilizing a story within a story technique. Above all, the story in a frame contains romantic fantasy about happy combination of a couple who don`t care external features. To remedy this, the author lets readers select a conclusion by utilizing the story out of the frame. It is an apparatus searching for the possibility of healing in a dimension of story communication. It can be called ``narrative of therapeutic alliance``.

KEY TO SUPERSTARDOM IN A GLOBALISED MARKET: THE ROLE OF MARKETING CAPABILITY AND INTANGIBLE CAPITAL

Pooria Miladi G,Reza Salehnejad,Ronald Ramlogan 글로벌지식마케팅경영학회 2023 Global Marketing Conference Vol.2023 No.07

Recently, attention has increasingly been paid to the heterogeneity of firm performance. Some firms seem to extensively outperform their rivals not only in terms of productivity but also regarding sales, returns on investment, etc. Importantly, the chasm between the superstar firms, most successful group of firms in an industry, and their peers has been widening especially in the 21st century (Van Reenen, 2018).Superstar firms’ impacts on economies have gained a great deal of attention in the economics and policy literature. Understanding what helps firms become superstars can guide policy and management but requires further research and input from the management literature. This paper brings the topic of superstar firms to the management literature, develops a theory, and offers an empirical view of the drivers of superstar firms.

마케팅믹스 요소가 매출액에 미치는 영향: 영화산업에서 슈퍼스타와 롱테일의 비교

이중원,박철 한국경영정보학회 2022 Information systems review Vol.24 No.2

Researchers are making contradictory claims through the concept of superstars and long tails about how the development of IT technology affects demand distribution. Unlike previous studies that focused on changes in demand from a macro point of view, this study explored whether the relationship between a company's marketing activities and consumer response differs depending on the product location (i.e., superstar vs. long tail) from a micro point of view. Based on the marketing mix framework, hypotheses were developed based on the relevant literature. In the case of empirical analysis, 2,835 daily data from 63 Korean films were tested using the quantile regression method. As a result of the analysis, it was found that the influence of marketing mix factors on sales varies depending on the location of the product. Specifically, the appeal breadth of the film and the effect of owned media are enhanced in superstar products, and the effect of acquisition media in long-tail products is enhanced and the negative effects of competition are mitigated. Unlike previous studies that focused on macroscopic changes in demand distribution, this study suggested marketing activities suitable for practitioners through microscopic analysis. 연구자들은 IT 기술의 발전이 수요분포에 어떠한 영향을 미치는지 슈퍼스타와 롱테일 개념을 통해 상반된 주장을 하고 있다(Brynjolfsson et al., 2010). 본 연구는 거시적 관점의 수요변화에 주목한 선행연구와 달리, 미시적 관점에서 기업의 마케팅 활동과 소비자 반응 간의 관계가 제품의 위치(i.e., 슈퍼스타 vs. 롱테일)에 따라 차이가 있는지 탐색하였다. 마케팅믹스 프레임워크를 기반으로 영화 마케팅 문헌에서 제시된 마케팅믹스 요소에 대한 가설을 개발하고, 영화산업을 대상으로 한국의 63개 영화의 45일 데이터 2,835개를 분위회귀분석 방법으로 검증하였다. 분석결과, 마케팅믹스 요소가 매출액에 미치는 영향은 제품의 위치에 따라 차이가 있다는 점을 발견하였다. 구체적으로 영화의 소구 폭과 소유 미디어의 효과는 슈퍼스타 제품에서 강화되며, 롱테일 제품은 획득 미디어의 효과를 강화하고 경쟁의 부정적 효과를 완화하는 것으로 나타났다. 본 연구는 거시적 수요분포 변화에 집중해온 선행연구와 달리, 미시적 측면의 분석을 통해 실무자에게 적합한 영화 마케팅 전략을 제안하였다.

현대무용 <수퍼스타 예수 그리스도>의 문화상호성 연구 -파비스(P. Pavis)의 "문화의 모래시계" 모형 적용분석

윤지현 ( Ji Hyun Yoon ) 대한무용학회 2012 대한무용학회논문집 Vol.70 No.3

문화상호주의는 세계화 시대 한국 무용공연의 이해와 분석에 유용한 관점을 제공한다. 본 연구는 문화상호주의에 기반을 둔 파트리스 파비스(Patrice Pavis)의 ``문화의 모래시계(the Hourglass of Culture)``모형(Pavis, 1992, p.4)이 동시대 공연예술의 문화상호성 분석에 유효하게 적용될 수 있음을 한국 현대무용의 분석사례를 통해 제안하고자 했다. 1973년 초연된한국의 현대무용 <수퍼스타 예수 그리스도>에 파비스의 ``문화의 모래시계`` 모형을 적용하여 문화세계화 시대 한국 무용공연의 문화상호적 특성을 분석했다. 모형이 설정한 각 단계에따라 문화이동의 과정을 구체화했고, 이를 통해 미국식 현대무용의 수입과 한국 정착과정을 공연에 나타난 문화상호성을 중심으로 분석할 수 있었다. 이 작품은 한국의 근대화 과정에서 전근대적 도제식 무용교육 방식과 대학교육에 편입한 무용교육 방식이 경합하고; 서구적근대가치의 지향과 전통문화의 보존이라는 동시대 담론이 상충했던 1970년대 한국 무용계의 문화상호적 맥락을 살펴보게 했다. 현대무용<수퍼스타 예수 그리스도>는 대학교육을 통해 배출된 한국 안무자와 공연자가 한국사회에 고급예술로 수용된 현대무용 기법에 서양의 대중음악 장르인 록 오페라를 배경음악으로 사용해 만든 무용극 공연이다. 이 공연의 문화상호적 지점은 공연내적인 특성을 중심으로 첫째 한국문화와 서양문화 사이에 설정되는 문화상호적 지점과 둘째 고급한 예술장르와 대중장르가 결합해 한국 일반관객의 주목을 받고 대중성을 확보했다는 점에서 예술 위계상의 문화상호적 지점을 형성한다. 셋째는 공연외적 맥락을 중심으로 근대화 담론과 전통문화 및 민족정체성 담론 등 동시대 담론이 상충하고 경합하는 공간으로서 문화상호적 지점을 형성한다. 문화상호성을 한국 무용공연의 변화와 발전기제로서 고찰하고자 하는 본 연구의 사례 분석은 세계화 시대 한국무용공연에 나타난 문화혼종의 이해에 문화상호주의 논의를 적용한 시도이자 분석사례라는 점에서 의미가 있다. 또한 현대무용 <수퍼스타 예수 그리스도>는 다양한 문화상호적 층위를 내포할 뿐만 아니라 수입된 무용공연 장르의 한국적 수용을 보여주는 작품의 하나이다. 최장기, 최다공연 등 한국무용사의 기록을 보유했다는 점에서도 이 작품에 대한 문화상호성 분석은 유의미하다. 차후 무용공연의 이해와 분석에 문화상호주의 논의를 적용한 다양한 사례가 축적되고 이를 기반으로 한국무용공연의 이해에 문화상호주의의 유용성과 제한점이 검토되기를 제안한다. Interculturalism provides an useful perspective for understanding Korean concert dance in the global era. This study suggests that Patrice Pavis` model of "the Hourglass of Culture" can be applied into the intercultural analysis of Korean dance. Korean modern dance Superstar Jesus Christ(1973) was chosen for this trial application. The work is one of the best cases, which shows intercultural processes among Korean dance performances. It was composed with several cultures such as American modern dance technique, Rock opera music from Western countries and a Korean choreographer trained in America, even though it was premiered and widely accepted in Korean society in the 1970s. The study specified the phases of cultural transition in a dance performance Superstar Jesus Christ by applying "the Hourglass of Culture" model. This trial found three intercultural intersections. The intersections, first between Western culture and Korean culture; second between fine arts and popular arts; and third between conflicting social discourses such as enhancing modern value and preserving traditional value were observed. The dance work can be regarded as an intercultural space in which contemporary social discourses are completing. Cultural hybridity is one of distinct characteristics of Korean dances in socio-cultural contexts of globalization. This study would be one of a few cases analysing intercultural characteristics of Korean dance. If the intercultural analyses of Korean dance cases are stored later on, the usefulness of interculturalism and "the Hourglass of Culture" model can be discussed further.

리얼리티 쇼 프로그램의 재미에 관한 연구

주정민(Chungmin Joo),배윤정(Yunjeong Bae) 한국콘텐츠학회 2014 한국콘텐츠학회논문지 Vol.14 No.1

이 논문은 리얼리티 쇼 프로그램인 ‘슈퍼스타 K’가 시청자들에게 인기를 끈 요인이 무엇인지를 살펴보았다. 이를 위해 ‘슈퍼스타 K’를 시청한 시청자를 대상으로 두 차례에 걸쳐 심층인터뷰를 실시하여 재미요인을 분석하였다. 연구 결과, ‘슈퍼스타 K’는 프로그램 기획단계에서부터 편집과 송출에 이르기까지 다양한 재미요소를 치밀하게 계획하여 제공함으로써 시청자들에게 재미를 불러 일으켰다. 특히 프로그램의 ‘편성’, ‘구성’, ‘편집’, ‘진행방식’, ‘소구요소’에서 다른 프로그램에서는 볼 수 없는 치밀한 전략을 통해 시청자에게 재미를 준 것으로 나타났다. 따라서 리얼리티 쇼 프로그램이 시청자에게 인기를 끌기 위해서는 프로그램 자체의 재미요인을 고려하는 것도 중요하지만 방송제작과 방영과정에서 다양한 장치와 전략이 필요하다는 사실을 알 수 있었다. The purpose of this study was to investigate the factors behind the popularity of Superstar K, a reality show, among the viewers. For that purpose, the study conducted an in-depth interview with six viewers that watched the show in the first round and eight more in the second round. The interview results show that the shows fun elements include program formation, organization, edition, hosting style, and appeal factors, which differentiated it from other shows. Superstar K made the viewers enjoy the show by thoroughly planning and providing a range of fun elements from program planning to edition and transmission.

네델란드의 재배 및 유통통계를 중심으로 본 글라디올러스 품종 변천

조해룡,구대희 한국화훼연구회 2002 화훼연구 Vol.10 No.2

글라디올러스 육종 방향을 설정하기 위해 네덜란드의 재배 및 유통통계를 분석, 품종의 변천과정을 조사하였다. 춘계개화형 글라디올러스 재배는 점차 줄어 전체 재배면적의 4∼5% 정도만 재배되고 있으며 이는 기호성이 떨어지는 Nanus 품종군의 재배면적 감소 때문이다. 하계개화형 품종은 네덜란드에서 1964년부터 1994년 사이에 700여 품종이 재배되었고 재배면적이 20위안에 든 품종은 73품종이었다. 20위안에 유지되었던 평균기간은 9.4년이었고 가장 오래 20위권 내에 있는 품종은 적색의 Oscar품종이었다. 화색별 재배면적은 적색, 문홍, 백색, 황색, 살색, 자주색, 청색 순이었고 분홍과 백색 품종의 재배면적은 꾸준히 증가하여왔다. 유통량 조사에서도 춘계개화형 그룹은 급격히 줄어들고 있으며 유통량 감소를 주도하고 있는 것은 Nanus 품종군이었다. 하계개화형 그룹에서는 헌팅송 품종이 전체 절화시장의 1/3 정도로 비중이 컸는데 이는 유럽의 기후조건과 기호성이 잘 맞기 때문이었다. 반면에 Superstar, Chinon 등 새로운 품종의 급신장과 기존 품종들의 감소가 확인되었다. To present breeding vision of Gladiolus flower, it was analyzed cultivated area, cultivated value of Gladiolus during 31 years(1964-1994) and the selling amount at the auction during 16 years(1985-2000) in the Netherlands, and investigated exchanges of Gladiolus cultivars. In winter flowering group, the cultivation area was on the decrease about 4∼5% of total area due to reduction of cultivation area of Nanus group, which goes down favorites of consumer. In summer flowering group, 700 cultivars were cultivated from 1964 to 1994 and 73 cultivars were within 20 rank of cultivation area in the Netherlands. The average period which maintained within 20 rank was 9.4 years and the red colour 'Oscar' cultivar was the longest one. According to the cultivation area of flower color, it was the order red, rose, white, yellow, salmon, purple and blue group and the cultivation area of rese and white group was increasing continuously. In the selling amount, the winter flowering group is decreasing drastically because of reduction of the selling amount of Nanus group. The selling amount of 'Hunting Song' cultivar included the summer flowering group was occupied one of third of total cut flower amount. There was confirmed the increase of new clutivars as like 'Superstar' and 'Chinon', otherwise the decrease of old cultivars.

한국의 해적판 뮤지컬 다시 보기―<지저스 크라이스트 슈퍼스타(Jesus Christ Superstar)>의 경우

최승연 한국극예술학회 2022 한국극예술연구 Vol.- No.76

현재 한국 뮤지컬 신(scene)은 2001년 라이선스 버전 <오페라의 유령> 이후를 산업화가 시작되는 공식적인 역사로 놓고 그 이전의 역사, 특히 해적판 시대의 뮤지컬은 ‘본격적인 뮤지컬 역사’와 다소 무관하다고 판단하는 경향을 보인다. 본 논문은 초창기 뮤지컬 역사에 관한 연구 성과와 실제 뮤지컬 신의 인식론 사이에 차이가 있음을 직시하고, 마커스 레디커가 『대서양의 무법자』에서 보여주었던 해적/노예들의 전복적, 균열적 상상력을 활용하여 해적판 시대 뮤지컬을 섬세하게 역사화하려는 시도라 할 수 있다. 이를 위해 1980년 2월에 초연된 현대극장의 해적판 <수퍼스타 예수 그리스도>가 오리지널 <지저스 크라이스트 슈퍼스타>를 어떻게 흡수, 충돌, 융합, 굴절, 변용했는지 살핀다. 오리지널 <지저스 크라이스트 슈퍼스타>는 ‘록 오페라’ 양식으로 개발되었던 공연으로서 1969년 『슈퍼스타』라는 싱글 앨범으로 첫 선을 보인 이후 1970년 록 음악을 사용한 콘셉트 앨범으로 전체가 제작되었다. 당시 콘셉트 앨범은 영역을 확장하던 록 음악을 활용하여 모든 음악을 하나의 테마 안에서 통일하는 방식으로 제작되었는데, 『지저스 크라이스트 슈퍼스타』콘셉트 앨범 역시 마찬가지였다. 앨범은 ‘록 오페라’라는 개념 안에서 테마를 더 심화시켜 명확한 드라마에 따라 음악이 구성되는 방식으로 제작되었고, 이 1970년의 콘셉트 앨범과 1971년의 록 오페라 초연 사이에 수많은 미국의 해적판들이 다양한 음악극과 콘서트 형식으로 쏟아지게 되었다. 그러므로 한국의 해적판 공연들, 즉 1973년 한국에서 처음 공연되었던 육완순의 무용극 <수퍼스타 예수 그리스도>와 1980년 현대극장 뮤지컬 버전은 한국에서만 벌어진 현상이 아니라 <지저스 크라이스트 슈퍼스타>의 잠재적 흥행력을 보여주던 미국 공연계의 상황과 본질적으로 다르지 않은 것이라 상정할 수 있다. 한편 현대극장의 <수퍼스타 예수 그리스도>는 당시 한국 언론들이 담론화했던 ‘록 오페라’에 대한 전복적이고 진보적인 개념에서 다소 비껴나, 기독교의 신앙고백 차원이 강화된 진지한 연극 예술의 양상을 더했다. 또한 음악의 측면에서는 정성조 밴드 특유의 관악기 편곡이 두드러지고 이지리스닝과 포크의 중간지대에 머물렀던 1970년대적 록 사운드를 보여주면서 당시 대중들의 공감을 폭넓게 살 수 있었다. 따라서 1980년 현대극장의 <수퍼스타 예수 그리스도>는 규격화된 법적 규제 밖에서 당대 한국 공연계의 역량 및 정체성과 결합되었던 흥미로운 뮤지컬 ‘텍스트’였다고 이야기될 수 있다.