초록 열기/닫기 버튼
청대는 소설을 희곡으로 각색하거나 희곡을 소설로 각색하는 두 장르의 특별한 관계를 보여주는 작품이 많이 등장하였다. 《聊齋志異》나 《紅樓夢》을 희곡으로 각색한 작품과 李漁의 《無聲戱》 같은 작품들이 그 예이다. 본 논문은 청대 궁정대희 《忠義璇圖》가 소설 《水滸傳》 전편을 희곡으로 각색한 유일한 작품이라는 점에 착안하고, 희곡 개편 방식을 파악하는데 목적이 있다. 장편소설 전편을 희곡으로 개편한 10본 240출 《충의선도》는 궁정의 3층 대희대 공연을 위해서 만들어진 작품이다. 본 논문은 기존 연구의 고정된 관점을 버리고 《충의선도》의 소설 《수호전》 각색 방식을 검토하였다. 예를 들어 어떤 변화를 주었는가. 언제 어디에서 행동을 설정하였나. 인물의 수, 장소의 수를 무대에서 어떻게 줄였나, 극적 긴장감을 위해 무엇을 하였나, 전체, 부분, 특정 장면, 어디를 극화한 것인가 등이다. 이것은 서양의 희곡각색에서도 볼 수 있는 세부적 변화지만, 중국 전통극 예를 들어 揷科打諢의 삽입이나 희극적 내용의 추가 등 중국만의 독특한 각색방식이 있다.
Zhongyixuantu, underrated in comparison to Shuihuzhuan in terms of literary quality, has long failed to be recognized as a classic although both of them are full-length literary works created based on The Water Margin Story. Such view mainly stems from two dominant appraisals regarding the book: Zhongyixuantu, chronologically preceded by Shuihuzhuan, lacks literary creativity simply adapting the stories from Shuihuzhuan and other plays written earlier and was also created in favor of the ruling class of Qing Dynasty. These two appraisals are so compelling that they have prevented Zhongyixuantu from being properly appreciated. Zhongyixuantu, however, is the only literary work into which the entire plot of the novel Shuihuzhuan was dramatized and also is an extraordinary work adapted for a full-length play to be performed at the court theater by the imperial palace which, in fact, banned Shuihuzhuan. Thus, Zhongyixuantu holds great significance in identifying how the narrative of Shuihuzhuan was disseminated by the ruling class, as well as in drawing an objective comparison between the two different genres. The purpose of this paper is to objectively asses the literary quality of Zhongyixuantu by comparing and analyzing the two literary works within their text and away from the conventional approach. The two literary works will be compared based on a wide range of fundamental factors that would have been taken into consideration for dramatization. This includes, for example, what were the changes made, when and where the actions were set, how the number of characters and places was reduced on the stage, what was done to build dramatic tension, what parts or certain scenes of the novel were dramatized, and so on.
키워드열기/닫기 버튼
Zhongyixuantu, Shuihuzhuan, dramatization, court drama, The Water Margin Story
