1920년대 전통연희공연의 전개양상 = The development of traditional performances in the 1920s

다국어 초록 (Multilingual Abstract)

This paper attempted to further study the context of traditional performances in the 1920s, which developed amid the rapidly changing atmosphere of performing culture in response to the demands of the times of modernization, and confirmed the following facts.
Unlike what has been defined as a decline period, traditional performances in the 1920s were actively performed through theater stages, master singing contests led by Pansori masters, and activities of traditional music organizations formed under the perception of a crisis of traditional music. In particular, in the existing discussions, Gwangmudae in the 1920s concluded that traditional performances were greatly dampened by the acceptance of new wave plays. Of course, Gwangmudae University changed its operations depending on the management, such as setting up a new wave play and a new performance that was popular at the time. However, despite such a situation, it can be seen that traditional performances were selected as a major repertoire that guaranteed the success of the wide stage throughout the 1920s and were continuously performed. In addition, the Chosun Theater, which was newly established in 1922 for the purpose of screening movies, frequently introduced traditional performances as a role of encouraging the public to watch movies and providing attractions during the vacuum of movie distribution.
When the traditional play was being steadily performed around the theater, the master singer contest, which began in the mid to late 1920s, helped expand the stage of traditional performances limited to theaters in Gyeongseong nationwide. The master singer contest, in which pansori was the main repertoire of the 1910s, played a decisive role in reorganizing the traditional performance of the Gwangmudae, which was linked to the tradition of the 1910s, into music centered on pansori and music. In addition, by the time of the rise of the master singer contest, related organizations begin to form amid the awakening that rapid changes in performance culture could threaten the existence of traditional music. They promoted the term Joseon music in response to the changes of the times, not the traditional play, and contributed to enhancing the value of traditional music and reestablishing its status. In particular, Pansori masters, who were virtually leading the traditional music industry based on the master singing contest, were directly or indirectly involved in the formation of traditional music organizations during this period and led activities for the revival of traditional music in the 1920s.

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