帝国日本の文化権力:1910年代京城の能と謡

서지정보

· 발행기관 : 중앙대학교 일본연구소
· 수록지 정보 : 일본연구 / 37호 / 297 ~ 322페이지
· 저자명 : 서정완

초록

Through the Edo period, Noh was not only the entertainment but also the culture of the samurai. But Noh was forced to the verge of fatal collapse by the Meiji Restoration. The result that Edo Bakufu was dismantled by Meiji new government, Noh was fallen into a state of layoff. They had no more patrons, financial support, the stages they could play. But fortunately Noh had played a revival again as “the state entertainment” with the strong assistance of the state power. Noh was reborn as the performing arts to honor the national prestige of the Imperial Japan.
On the other hand, Utai=Yokyoku is more personal oriented entertainment to sing the vocal part of the script of the Noh play. Utai was prevalent among the upper class and middle class in Japan and other her colonies. In Seoul, before Japan annexed Korea by force in 1910, several utai-kai was established by Japanese residents. To Japanese people, Utai was the symbol of their social status and only high society people could enjoy that. But to almost all Korean people, Utai was an queer performing arts they could not understand at all. In such a situation, especially in case of Dong-wan KIM, Utai was the cultural device to promote the position of his hierarchy. Under the Japanese colonies, to become a bureaucracy to serve Japanese colonial power, it meant that socially they could stand on top of the Korean society as a power enforcer. And by mastering the Utai, when their ability of Utai exceeds the Japanese, they could stand on top of the most Japanese people culturally and mentally.
As a symbol of hierarchy, Noh and Utai had functioned as an effective device for cross-border. Here is the reason why we should pay attention to the cultural power to investigate what was the Noh and Utai under the Japanese colonial society.

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