• (The) Research of the performance art and culture
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• no.36
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• pp.75-102
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• 2018

Manjungpan Chunhyangga is established by Manjung Kim Sohee. She selectively chose and arranged the songs by Jung Jungryeol, Song Mangap, Jung Eungmin, Kim Yeonsoo, Park Dongsil, and Jung Kwangsil. Kim Sohee once stated that while a major section of Chunhyangga is based on the songs by Jung Jungryeol, Song Mangap, Jung Eungmin, and Kim Yeonsoo, the whole part of Okjungga is derived from Park Dongsil. However, there is not much material that will provide enough information with regard to what musical characteristics Park Dongsilje Chunhyangga possessed. Under the circumstances, the voice of Park Dongsilje, left by Kim Sohee, triggers curiosity on Park Dongsilje Chunhyangga. It can also be construed that there must be a good reason for choosing Park Dongsilje for Okjungga, unlike other parts. Therefore, this paper attempted to find out what the unique features of Par Dongsilje are and what the reasons behind Kim Sohee's musical choice were through comparison and analysis of Kim Sohee's musical features in Okjungga. The following are the results. Firstly, Okjungga is a created verse by its nature and it does not possess specific features to a school. Therefore, the reason for choosing Park Dongsilje could have been based on musical reason rather than verse. Secondly, the lyrics of Park Dongsilje Okjungga is closer to that of Song Mangap rather than that of Jung Jungryeolje. It can be argued that it falls between the two of them. Thirdly, the tone and melody of Park Dongsilje Okjungga falls in the middle section of Dongpyenje and Supyenje. Fourthly, the analysis of Jinyangjo rhythm out of the whole Manjungpan Chunhyangga shows that there are slight differences among Song Mangapje, Jung Jungryeolje, and Jung Eungminje. Park Dongsilje is very unique in the sense that it does not use utbutim in gyemyeonjo part in Manjungpan Chunhyangga. Park Dongsilje Okjungga is a song to which the tone, melody, and sigimsae of Supyeonje is added to lyric butimsae of Dongpyeonje. It can be seemed as simple and less sophisticated because, with its simple lyric butimsae, it shows a less complicated tone utilization rather than Jung Jungryeol. With lighter decoration of music, feelings can be conveyed more directly. That is probably why Kim Sohee commented on Park Dongsilje Chunhyangga that it is the most mournful song for Chunhyang and it is the song that moves anyone who listens to the song. Consequently, Kim Sohee accepted Park Dongsilje Okjungga and she created different feelings to Manjungpan Chunhyangga which has repeatedly displayed the color of Jung Jungryeol. Combining the lyric addition of Dongpyeon style and the melody of Supyeon style can crated a different language.

• Sijohaknonchong
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• v.23
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• pp.133-159
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• 2005

This thesis is about Sijo(traditional Korean poem) made-up of 35 volumes and 45 poems written by Han Yong-un. The aim of this study is reappraise the Sijo which is not known to Korean people. There are four thesis about Sijo so far. Ko Myeong-su divided Sijo into separate subjects and researched it very deeply. After I read the Chinese Poems of Han Yong-un, I researched the relationships between subject matter and its theme. The relationships are between the moon and religion, spring and aspiration, autumn and grief or lose, and the sword and patriotism. I chose to discuss a Sijo 'Mugunghwa Shimeukwajeo'(무궁화(無窮花)를 심으과저) shich deals with the moon and religion. The main subject matter of this S is the moon. There are three poems in this volume. They are all about the moon. There is a Mugunghwa (無窮花) on the moon. This poem asserts that the moon is good for love, and it is the subject matter of the poet's religion. The moon in the Chinese poem 'Okjungkamwhiy'(獄中感懷) believes there is hope in prison. The moon in 'Wolbang(月方中) is Buddhist thinking. I researched 'Geochon'(早春) tee poems about spring and aspiration. The first poem is about the independent movement against the Japanese. Autumn is about the feeling of lose in the life. Sijo 'Chuyamong' (秋夜夢) is lose the lover. The second poem is about conquering all difficulties of the poet's current circumstance. The third poem is about the feeling of vacuum in his life. The fourth poem is about deploring losing his mind. 'Nam-a'(男兒) and 'Urinim'(우리님) are books about patriotism. These poems have the subject matter of a sword for song patriotism. 'Kiharksaeng'(寄學生), 'Anhaeju'(安海州), and 'Hwangmaecheon'(黃梅泉) are patriotic poems. In this study, I found that the subject matter and the theme in the Chinese poems of Han Yong-un(韓龍雲) are related. Mainly he used the metaphor of the moon for religion, spring for aspiration, autumn for grief or lose, and sword for patriotism.

• (The) Research of the performance art and culture
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• no.43
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• pp.5-46
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• 2021

The film Moranbong is the product of a trip to North Korea in 1958, when Armangati, Chris Marker, Claude Lantzmann, Francis Lemarck and Jean-Claude Bonardo left at the invitation of Joseon Film. However, for political reasons, the film was not immediately released, and it was not until 2010 that it was rediscovered and received attention. The movie consists of the narratives of Young-ran and Dong-il, set in the Korean War, that are folded into the narratives of Chunhyang and Mongryong in the classic Chunhyangjeon of Joseon. At this time, Joseon's classics are reproduced in the form of the drama Chunhyangjeon, which shares the time zone with the two main characters, and the two narratives are covered in a total of six scenes. There are two layers of middle-story frames in the movie, and if the same narrative is set in North Korea in the 1950s, there is an epic produced by the producers and actors of the Changgeuk Chunhyangjeon and the Changgeuk Chunhyangjeon as a complete work. In the outermost frame of the movie, Dong-il is the main character, but in the inner double frame, Young-ran, who is an actor growing up with the Changgeuk Chunhyangjeon and a character in the Changgeuk Chunhyangjeon, is the center. The following three OST albums are Corée Moranbong released in France in 1960, Musique de corée released in 1970, and 朝鮮の伝統音樂-唱劇 「春香伝」と伝統樂器- released in 1968 in Japan. While Corée Moranbong consists only of the music from the film Moranbong, the two subsequent albums included additional songs collected and recorded by Pyongyang National Broadcasting System. However, there is no information about the movie Moranbong on the album released in Japan. Under the circumstances, it is highly likely that the author of the record label or music commentary has not confirmed the existence of the movie Moranbong, and may have intentionally excluded related contents due to the background of the film's ban on its release. The results of analyzing the detailed scenes of the Changgeuk Chunhyangjeon, Farewell Song, Sipjang-ga, Chundangsigwa, Bakseokti and Prison Song in the movie Moranbong or OST album in the 1950s are as follows. First, the process of establishing the North Korean Changgeuk Chunhyangjeon in the 1950s was confirmed. The play, compiled in 1955 through the Joseon Changgeuk Collection, was settled in the form of a Changgeuk that can be performed in the late 1950s by the Changgeuk Chunhyangjeon between 1956 and 1958. Since the 1960s, Chunhyangjeon has no longer been performed as a traditional pansori-style Changgeuk, so the film Moranbong and the album Corée moranbong are almost the last records to capture the Changgeuk Chunhyangjeon and its music. Second, we confirmed the responses of the actors to the controversy over Takseong in the North Korean creative world in the 1950s. Until 1959, there was a voice of criticism surrounding Takseong and a voice of advocacy that it was also a national characteristic. Shin Woo-sun, who almost eliminated Takseong with clear and high-pitched phrases, air man who changed according to the situation, who chose Takseong but did not actively remove Takseong, Lim So-hyang, who tried to maintain his own tone while accepting some of modern vocalization. Although Cho Sang-sun and Lim So-hyang were also guaranteed roles to continue their voices, the selection/exclusion patterns in the movie Moranbong were linked to the Takseong removal guidelines required by North Korean musicians in the name of Dang and People in the 1950s. Second, Changgeuk actors' response to the controversy over the turbidity of the North Korean Changgeuk community in the 1950s was confirmed. Until 1959, there were voices of criticism and support surrounding Taksung in North Korea. Shin Woo-sun, who showed consistent performance in removing turbidity with clear, high-pitched vocal sounds, Gong Gi-nam, who did not actively remove turbidity depending on the situation, Cho Sang-sun, who accepted some of the vocalization required by the party, while maintaining his original tone. On the other hand, Cho Sang-seon and Lim So-hyang were guaranteed roles to continue their sounds, but the selection/exclusion patterns of Moranbong was independently linked to the guidelines for removing turbidity that the Gugak musicians who crossed to North Korea had been asked for.

• Sijohaknonchong
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• v.23
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• pp.213-239
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• 2005

Si is a genre which has been steadily loved by Korean, Particularly, 1920's through 1930's, the Revival Movement of Sijo is made by the school of Literary for People, including Choi Namseon, Lee Byeonggi and Lee Eunsang. And Kwon Goohyeon, a member of KAPF, and Han Yongwoon, not belonging to any literary group were interested in Sijo. Kwon Goohyeon, both a member of KAPF and an anarchist has published A Present of Black Room(1927), which is one of the two published in 1920's-1920's saw only two volumes of Sijo works be published: Choi Namseon's 108 Agony(1926) and Kwon's. However, Kwon Goohyeon's work has not been illuminated. compared with Choi Namseon's and the Revival Movement Sijo by the school of Literary for People. It is because Korean literary world has been under the anti-communism ideology since the Liberation of Korea. However, it caused to explore proletarianism Sijo (Joh woon) and proletarianism poetry (Park Yeonghee) that Kwon is a memeber of KAPF and an anarchist. Han Yongwoon, not belonging to any literary group, was very famous as the poet of My Belolved One's Silence(1926), not as a Sijo poet. It means that he s not been illuminated as a Sijo poet. However, his Sijo is enough to contain his various features such as a man of Independence Movement, a Buddhist monk, a lyrical poet and so on. His first Sijo is For Planting Mookoonghwa-Poetry Written in Prison(1922), which has been published four years prior to My Beloved One's. And his affection on Sijo is inferred from the fact that he has constantly published Sijo more than free verse. The aim this thesis is to find out a position of Sijo 1920's through 1930's from a study on Kwon Goohyeon's and Han Yongwoon's Sijo. Sijo, Korean traditional literary genre, was written by most of the poets including not only the school of Literary for People but Kwon Goohyeon and Han Yongwoon 1920's through 1930's. As a result, the writing of Sijo was not a partial movement by the anti-KAPF group, but by a paradigm in 1920's through 1930's.