김민기의 ‘노래극’ 연구

다국어 초록 (Multilingual Abstract)

In this article, I tried to analyze the Korean director, Kim, Min-gi and his works as a kind of new musical form, called 'Norai-geuk (Song-drama)'. Since the former folk musician established Hakchon Little Theater in 1991, he has expanded his artistic boundary as a director. Through his works at the theater, he has always tried to build his own style, where the Korean traditional art and western one converge.
In other words, He has focused on how to adapt Korean traditional art into the western style, and tried to embody it into the works, which mainly deals with the social problems.
Although he started his artistic works from the harmonics of western, the 'Norai-geuk(Song-drama)' is in pursuit of the form which could show the qualities of the Korean, based on traditional Korean music.
He has always given himself a question "How can I embody the sentiment of traditional music into the modern sentiment?", and the 'Norai-geuk(Song-drama)' is the answer. In short, western and eastern, traditional and modern converge in the 'Norai-geuk(Song-drama)'.
In the terms of theme, he focuses on social problems not just on entertainment, with detailed description, which differentiates his works from other entertaining shows in Korea.
Through this article, I study and arrange Kim, Min-gi and his works diachronically, from his first work 《Sori-gut Agu》(1974), where he just wrote the script, to 《Gaettongi2006》 and how he has developed the concept of 'Norai-geuk(Song-drama)' where he reflects his views on social issues.

목차 (Table of Contents)

• I. 서론 = 1
• 1. 연구목적 = 1
• 2. 선행연구 및 연구방법 = 4
• II. 김민기의 문제의식 = 9
• III. 형식의 모색 : 굿에서 대중문화로 = 20
• 1. '비판적 신명'의 시작 : 소리굿 = 20
• 2. 굿과 극의 교량 : 노래굿 = 27
• 3. 주제의 확장 : 노래일기 = 38
• 4. 대중과의 만남 : 록뮤지컬 = 49
• IV. 실천적 구현 : 극단 학전의 록뮤지컬을 중심으로 = 54
• 1. 주체적 번안 = 54
• 1) 90년대 한국의 자화상 = 54
• 2) 한국 현대사의 질곡 = 59
• 3) 한국 교육 현실의 반영 = 64
• 2. 관객 중심의 편곡 = 69
• 3. 선율과 노랫말의 상호질서 = 71
• 4. 소극장 무대의 효율적 이용 = 78
• V. 미래지향적 구축 : 노래극 《개똥이 2006》을 중심으로 = 85
• 1. 변모의 과정 : 1984년에서 2006년까지 = 85
• 2. 전통음악의 극적 활용 = 92
• 3. 총체성의 추구 : ‘영역의 연대’ = 102
• 4. 자연 자생력의 회복 = 107
• VI. 결론 : 김민기 ‘노래극’의 의의 = 113
• 참고문헌 = 117
• ABSTRACT = 122
• 별첨자료 = 124
• 1) 김민기 연보 = 124
• 2) 극단학전 기획제작 공연 주요연보 = 127