여성국극 <춘향전>의 페미니즘 미학과 문화콘텐츠 의의 = Significance in Yeoseong Gukgeuk Chunhyangjeon in terms of Feminist Aesthetics and Cultural Contents

다국어 초록 (Multilingual Abstract)

Yeoseong Gukgeuk (i.e., Korean traditional musical with an all-female cast) and Changgeuk (i.e., Korean traditional opera) are Korean traditional dramatic art forms that stemmed from and developed based on Pansori (i.e., Korean traditional one-man narrative opera). Yeoseong Gukgeuk was derived from Changgeuk, but differs from Changgeuk in that its cast is comprised only of female artists. To put an end to the patriarchal culture of the mixed-gender theatrical troupe of Changgeuk, Yeoseong Gukgeuk organizes its cast consisting only of female artists who also act as male characters in male attire. However, the masculinity and feminity which feminist artists achieved from acting and performance failed to overcome the patriarchal barrier and merely reflected the emotion and fantasy of the public. The female characters of Yeoseong Gukgeuk failed to have their own voice, overcome their fate, or reject or change a traditional gender symbol. In this respect, the genuine value as cultural contents cannot be achieved through Chunhyangjeon which is a Yeoseong Gukgeuk that features a story about a female character maintaining her chastity for her love beyond social classes. Instead, in the current era, Chunhyangjeon should embody the gender ideology further to the extent that it takes precedence over the patriarchal ideology. In order for Yeoseong Gukgeuk to show the genuine creativity of feminist aesthetics, females should wage a real symbolic struggle, build solidarity based on the gender ideology and thereby accomplish the foremost mission of gender equality.

국문 초록 (Abstract)

여성국극과 창극은 판소리를 바탕으로 성립되고 발전한 전통의 극예술이다. 창극에서 분파된 여성국극은 혼성의 창극과는 달리 여성만으로 배역을 구성하였다. 혼성 창극단의 가부장 권위를 벗어나 남장 여배우가 출연하는 여성 창극단을 결성한 것이다. 하지만 여성국극의 페미니즘 예술가들이 연기를 통해서 획득했던 남성성과 여성성은 가부장 문화의 한계를 극복하지 못하고 대중의 감성과 환상을 공유하는 차원에서 머물렀다. 여성국극에 반영된 타자로서의 여성은 자신의 목소리를 갖거나, 자기 운명을 극복하거나, 전통적인 젠더 약호를 거부 또는 수정하거나 하지를 못했다. 예컨대 <춘향전>을 공연함에 있어서, 정절 이데올로기로 신분을 초월한 사랑을 얻는 이야기만으로는 더 이상 문화콘텐츠로서 가치를 발견하기가 어렵다. 우리 시대에는 오히려 가부장 이데올로기를 극복할 젠더 이데올로기가 더욱 요구된다. 여성국극이 페미니즘 미학의 창조력을 제대로 발휘하려면, 상징투쟁을 극복한 여성들이 젠더 이데올로기로 연대하여 양성 평등의 지상 과제를 수행해야 한다.

참고문헌 (Reference)

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