1950-80년대 방송 제작 창극의 현황과 특징 (The State and Characteristics of Broadcasting Changgeuk(Korean Classical Opera) in the 1950s to the 80s)

서지정보

· 발행기관 : 고려대학교 민족문화연구원
· 수록지 정보 : 민족문화연구 / 71호 / 235 ~ 297페이지
· 저자명 : 송소라

초록

본고는 1950~80년대까지 창극에 중심을 두고 제작한 방송 프로그램의 현황을 정리하고 전개과정을 살펴보았다. 아울러 1970~80년대의 프로그램을 중심으로 방송 제작 창극의 특징을 탐색해보았다.
방송 제작 창극은 1950년대 가장 활발하게 프로그램화되는 경향을 보였다. 성경린은 <라디오 창극> 프로그램을 통해 창극을 방송에 적극적으로 알리는 데 기여하였다. 1960년대에는 창극이 드라마에 편입되는 독특한 형태를 갖게 된다. 또한 텔레비전의 개국이 본격화되면서, 1950년대 무대공연으로 사랑을 받은 여성국극이 텔레비전을 통해 송출되기도 하였다. 1970년대는 텔레비전을 통해 본격적으로 창극이 제작되었다. 전문 창악인들로 출연진을 구성하여 새 레퍼토리를 극화하는 현상을 볼 수 있다. 1980년대에도 이 흐름이 이어지지만 국악 프로그램에 대한 경시가 심화되면서 프로그램을 지속하지는 못하였다.
창극은 방송과 결합하면서 창극이 갖는 음악적 속성 못지않게 극적 속성이 중요하게 다뤄진다. 본고는 이를 ① 방송 창극이 갖는 레퍼토리의 다양성 ② 원작 고전소설의 적절한 변형 ③ 도창의 형식 변화 ④ 노래보다 대사 중심으로 창을 활용하는 면을 통해 설명하였다.

영어초록

With the development of media in the 20th century, Changguek(Korean classical opera) encountered the public in the Japanese colonial era and even after liberation through radio and television. This paper analyzes the state of broadcasting programs, which were produced, based on Changgeuk from the 1950s to the 80s and the development processes. Moreover, characteristics of broadcasting Changgeuk are explored focusing on the programs in the 1970s to the 80s.
<Radio Changgeuk> of Seoul Broadcasting Station was the first regular program in the 1950s. This program was organized by the master of Gukak(Korean classical music), Seong Gyeong-rin and he was involved in the work under the pen name of Seong Choon-poong. Seong Choon-poong produced a variety of repertories by adding classical novels, works about great men of history and new novels to the existing Changgeuk repertories. <Radio Changgeuk> changed the program name into <Gukakmudae> in the middle of the 1950s and its form varied too. In <Gukakmudae>, the voice actors attended the program and Changgeuk was included in dramas, while in the existing programs, Changgeuk was led by master singers. This trend began in earnest when radio dramas became the mainstream in broadcasting and <Yeonsokchanggeuk> of Donga Broadcasting is a representative example.
In the 1960s, Donga Broadcasting produced a Changgeuk drama titled <Yeonsokchanggeuk>. At that time, the dramatist and producer used Changgeuk in making a soap drama. Not Korean classical musicians, actors and actresses played main roles in the drama. Chang(Pansori) was mostly used as background music to maximize character's emotion or the atmosphere of a scene. In the 1960s, television channels were launched in earnest and KBS TV aired a program titled <Gukakeaeui Chodae(An Invitation to Gukak)> on a regular basis. At this time, female Gukgeuk of the 1950s was a primary repertory of broadcasting. However, <Gukakeaeui Chodae> dramatized this to suit a television broadcast rather than showing performing arts as it is.
<Naegangsan Woorinorae(My Country Our Song)> of MBC TV was a broadcasting program, which put emphasis on Changgeuk in the 1970s. This program consisted of professional Changak musicians and dramatized new repertories. Moreover, it put an aggressive effort into changing Changgeuk into TV plays focusing on Chang and the episodes of the stories.
In the 1980s, Changgeuk was regularly aired by <KBS Jijeongseok>, though it didn't last long. <KBS Jijeongseok> followed the repertories of <Naegangsan Woorinorae> of MBC TV, but strived to create new repertories such as <Heosangjeon>. It was also intended to make Gukak known to the public, led by a Korean classical musician, Jo Sang-hyeon and a producer, Park Gyeong-sik with a broad understanding of Changgeuk.
Once Changgeuk is combined with broadcasting, dramatic properties of Changgeuk become as important as musical properties. This paper explains this by analyzing ① a diversity of repertories of broadcasting Changgeuk, ② a proper transformation of original classical novels, ③ changes in Dochang styles and ④ the dialogue-centered use of Chang rather than the song-centered use.

참고자료

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