‘춘향모티프’의 연극화에 관한 연구 - 창극ㆍ신극ㆍ마당놀이의 경우를 중심으로 : ‘춘향모티프’의 연극화에 관한 연구 = A Study on Dramatizing of ‘Ch"un-hyang motif’ －Focussing on Changguk, New drama, Madangnoli－

다국어 초록 (Multilingual Abstract)

The aim of this theis is dramatizing of ‘Chun-hyang motif’. Specially, laying stress on Changguk, New drama, Madangnoli by each form. Analyzed process and the special quality that ‘Ch"un-hyang motif’ is erupted and is developed. Ch"un-hyang motif erupts and was developed for direction that special quality of each genre can be detected well as well as changed meeting request of age.
Changguk 〈Ch"un-hyang〉 , written by Gimmyeonggon and directed by Lmjintaek is concentrated on realizing ‘Harmony of Chang and Dramatic’. Considered so that have filled good Deoneums of pansori without omission, and wished to rescue atmosphere that hear Wanchangpansori by being mobilized maximum indeed even Seosachang as well as dialogue specially. Also, instead of using Dochang way, Dochang divide into many character. Using set and light to visualize ‘lmyoun’ of situation background over the stage, He want to visualize ‘Imyoun’ of ‘sori’ actually.
And Yuchijin’s 〈Ch"un-hyang〉 accommodates actively 〈Okjungwha〉. He gets progressive side here and abandon conservative side, and accommodate some details and do not take the whole plot of 〈Il seol Ch"un-hyang〉. Also He try to stuff his text own actuality reflection. I think that he was right judgment that could select on the whole at that time. On subject traditional Ch"un-hyang, He want to express pain that the nation of colony age suffers and pray recovery of lost national identity. This can speak actuality reflection aspect. that was going to realize objective situation justly by roundabout way through historical play. This was ‘Realism’ of historical play to him.
Madangnoli 〈Ch"un-hyang〉 written by Gimjiil and directed by Sonjinchaek is having clear narration structure. Each scene is linked by retribution each other and logical leap or same time progress was not found. But, Madangnoli 〈Ch"un-hyang〉 was deformed very much in sub-plot. That is attempting interesting satire and parady as reinterpreting selectively according to modern general populace’s inclination which is occupying format called Madangnoli and TV program Audience and do emphasis, exclusion, and addition. Madangnoli 〈Ch"un-hyang〉 narrative structure are deformed as original and present text are crossed. Also, in Madangnoli case, satire about society changes by more indirect and indirect presentation as being admited in islands that is TV. Therefore, target of satire is not specific, and vague. And it does function by one various strategy that invent humor being inserted by pattern that is regular.

목차 (Table of Contents)

• 1. 서언
• 2. 창극화와 순수한 사랑
• 3. 신극화와 저항
• 4. 마당놀이화와 풍자
• 5. 결어
• 〈참고문헌〉
• [Abstract]