판소리 唱本의 硏究 = A Study of 'P'ansori' Play Scripts

다국어 초록 (Multilingual Abstract)

In this thesis, the present author classified 'pansori' (a Korean form of operatic folk narrative) play scripts according to their respective periods of production before making a comparative study of the dramatic structure, characters' personality, and techniques of expression found in scripts.
As a result of this study, this author came to evaluate that though each of these scripts represents periodic traits and reciters' individuality, they are nonetheless specific works of merit in literary history of Korea in that they retain commonness and unity as a literature of Gwangdae(buffoon).
This author also believes that profounder researches into this field of literature should be encouraged to continue further in view of the unique value in 'pansori's dramaticism and play ability.
1.'pansori's course of development was explained by classifying it into the following four chronological periods:
(1) The formation period : This period ranges from the reign of king Injo to that of king yong-jo of the Yi dynasty. 'pansori's had its first sign of forming when singing was added to the farcial plays of 'gwangdae' performed as part of the plays of 'narye',a ceremony to rid the palace of evil spirits. The 'pansori' 'chunhyang-ga'(the song of fragrance of spring) of the Manhwa Version is the eldest material.
(2) The developing period: This period which ranges from the reign of king chong-jo to the end of the Yi dynasty is the one when 'pansori's attained the highest stage of prosperity. 'pansori's at this period of development was played with other repretoires and buffooners who played offered sacrifices to spirits which songs. Although sone records indicate that 'pansori's attained its present full status of 12-act play during this preiod, the present author believes that except for the six act play of 'chunhyang-ga' 'pansori's form was still unfixed until this time. The script of 'Gwanghanlu-agbu' (the Gwanghan Pavilion,Epic Song) and Sin Jae-Hyo's six act 'pansori's scripts are the typical anthologies of this period.
(3) The period decline and transformation(1910∼1945): This is the period when 'pansori's transformed into more operatic form. Influenced by modern dramas and films, 'pansori's was played with stage settings and narrated not by a single performer but by singers who sang his or her part of the narrative that was assigned to him respectively. The typical script of this period is the one collected by Yi Son-Yu.
(4) The period of Revival(1945 to the present): During the early stage of this period, 'pansori's was played in an operatic form but was on the decline so much so that the government had to take measures to preserve this traditional form of art. In spite of the decline, scripts were supplemented well during this period. The five songs collected and supplemented by Kim Yun-Su are the instance.
2. Scripts not only preserve the characteristics of each of the periods but also traits of each signers.
(1) The Sin Tae-Hyo script; This one is a complete recompilation of the various scripts employed before his time. It is in the 4-4 meter verse, its tone critical and high-browed, full of authentic precedents and expressional dexterity as well as obscenity.
(2) The Yi Son-Yu script; This one contains as might be expected with the ordinary scripts of the operatic period, more dramatic structure than that of Sin's. The other characteristics of the script is originality and terse expressions.
(3) The Kim Yon-Su scripts; Characteristics typical of Sin's and Yi's scripts are transmitted to this script but more originality, expansions and adaptations than those of Sin and Yi scripts are seen in this script. Expressions are up-to-date, with satries skilfully interwoven.
3. In spite of these characteristics and differences, these scripts share much that is common scripts were originally aurhored by 'gwangdae' (buffooners) themselves but aids from 'yangbans' (noble men) and petty officials in the course of development, new contents were added with more refinedness.
The Sin's Text served as the base from which the Yi's text was rewritten before they were newly adapted again by other compilers. Nonetheless, the theme, and plots are in common in all these scripts.
4. Musical aspects of 'pansori's are left to further studies, as well as comparative studies of 'pansori's folklore and other popular literatures.

목차 (Table of Contents)

• 一. 序 論
• 二. 資料에 대한 考察
• Ⅰ. 時代背景과 資料
• Ⅱ. 主要 資料의 分析
• 1. 宋 晩載의 觀優戱
• (1) 판소리의 才藝
• (2) 12마당의 形成
• (3) 廣大의 告祀
• 2. 晩華本 春香歌
• (1) 戱曲的 構成
• (2) plot
• (3) 分析
• 3. 廣寒樓樂府
• (1) plot
• (2) 分析
• 三. 唱本의 比較的 考察
• Ⅰ. 資料의 提示 및 比較方法
• 1. 申 在孝의 唱本
• 2. 李 善有의 唱本
• 3. 金 演洙의 唱本
• Ⅱ. 春香歌
• 1. 場面의 設定
• 2. 場面의 比較
• 3. 小結
• Ⅲ. 沈淸歌
• 1. 場面의 設定
• 2. 場面의 比較
• 3. 小結
• Ⅳ. 興甫歌
• 1. 場面의 比較
• 2. 構成
• 3. 各 本의 特殊場面
• Ⅴ. 兎鼈歌
• 1. 場面의 比較
• 2. 構成
• 3. 各 本의 特殊場面
• 四. 表現技術
• Ⅰ. 水辭法上의 比較
• Ⅱ. 辭說의 比較
• 1. 典故와 卑俗語
• 2. 擬聲·擬態語
• 3. 音數와 唱
• 4. 訛傳
• 5. 分量과 修飾
• 6. 改作
• 五. 結 論
• 參考文獻
• Summary