This study deals with dramatic conflict in Heungbo-ga dichronically. This study also discusses Heungbo-ga with a viewpoint of plays. Main texts are Baktaryeong, Shinjaehyo-bon; Heungbo-ga, Kimyeonsu-changbon; and Heungbo-ga, Ojeongsuk-changbon. The results are as follows. First, Ojeongsuk omitted the part of “Nolbo’s families’ scolding Nolbo” which existed in Shinjaehyo-bon and Kimyeonsu-changbon. As a result, in Ojeongsuk-changbon Heungbo was confronted with Nolbo, focusing on the brothers’ problems instead of Nolbo’s families’ thought. Second, while Heungbo showed hostile recognition saying that baby swallows were innocent in Shinjaehyo-bon, Heungbo and his wife in Kimyeonsu-changbon and Ojeongsuk-changbon had non-hostile recognition saying that baby swallows did not treat poor people badly and had great sympathy toward them. Third, unlike Shinjaehyo, Kimyeonsu and Ojeongsuk switched the roles of the slave girl with Yanggwibi. This focused on Heungbo rather than Yanggwibi, and as a consequence, Nolbo was confronted with Heungbo. Fourth, the general let Nolbo alive in Shinjaehyo-bon, but in Kimyeonsu-changbon and Ojeongsuk-changbon the general killed Nolbo and Heungbo made him alive. Kimyeonsu and Ojeongsuk focused on Nolbo rather than the general, and therefore Nolbo was confronted with Heungbo. Confrontations which realized comic spirit mentioned above changed because the characteristics of Heungbo-ga resolved psychological conflicts by way of social laughter. Shinjaehyo let Nolbo be allowed to live by the general. Kimyeonsu and Ojeongsuk let Nolbo, who was killed by the general be allowed to live by Heungbo’s liquor making people alive again. This mediation constructed dramatic irony (Nolbo acted without knowing his life or death) because cultural characteristics of pansori moved to upper classes.

This study deals with dramatic conflict in Heungbo-ga dichronically. This study also discusses Heungbo-ga with a viewpoint of plays. Main texts are Baktaryeong, Shinjaehyo-bon; Heungbo-ga, Kimyeonsu-changbon; and Heungbo-ga, Ojeongsuk-changbon. The results are as follows. First, Ojeongsuk omitted the part of “Nolbo’s families’ scolding Nolbo” which existed in Shinjaehyo-bon and Kimyeonsu-changbon. As a result, in Ojeongsuk-changbon Heungbo was confronted with Nolbo, focusing on the brothers’ problems instead of Nolbo’s families’ thought. Second, while Heungbo showed hostile recognition saying that baby swallows were innocent in Shinjaehyo-bon, Heungbo and his wife in Kimyeonsu-changbon and Ojeongsuk-changbon had non-hostile recognition saying that baby swallows did not treat poor people badly and had great sympathy toward them. Third, unlike Shinjaehyo, Kimyeonsu and Ojeongsuk switched the roles of the slave girl with Yanggwibi. This focused on Heungbo rather than Yanggwibi, and as a consequence, Nolbo was confronted with Heungbo. Fourth, the general let Nolbo alive in Shinjaehyo-bon, but in Kimyeonsu-changbon and Ojeongsuk-changbon the general killed Nolbo and Heungbo made him alive. Kimyeonsu and Ojeongsuk focused on Nolbo rather than the general, and therefore Nolbo was confronted with Heungbo. Confrontations which realized comic spirit mentioned above changed because the characteristics of Heungbo-ga resolved psychological conflicts by way of social laughter. Shinjaehyo let Nolbo be allowed to live by the general. Kimyeonsu and Ojeongsuk let Nolbo, who was killed by the general be allowed to live by Heungbo’s liquor making people alive again. This mediation constructed dramatic irony (Nolbo acted without knowing his life or death) because cultural characteristics of pansori moved to upper classes.

Pansori-changbon, Heungbo-ga, modification, meaning, conflict structure, strengthening, plays, comic spirit, dramatic irony