여성이 독자적으로 기예를 가지고 활동할 수 없었던 20세기 초 예술계의 흐름 속에서 전통 여악과 여성 연희의 대부분을 담당했던 기생이 차지하는 비중은 막대했다. 1914년 <매일신보>가 한 해 동안 <藝檀一百人>이라는 연재물에 소개된 예술인 중 심정순, 박춘재 등 8명의 남자 예인을 제외하면 모두 기생이 차지하고 있다. 구독률을 높이기 위한 <매일신보>의 의도를 고려하더라도 연희자로서 기생의 비중이 작지 않았음을 방증해 주는 기사다. <藝壇一百人>에 연재된 기생을 중심으로 당시 공연예술계의 상황을 살펴보면 기생은 다양한 레파토리를 통해 당대 가장 활발한 공연 활동을 했던 예인 집단이었다. 한일합방 이후 왕실의 몰락과 민간 연희를 주도하던 예인집단의 공연 규제는 연희 공간의 상실과 함께 전통연희 계승에 큰 차질을 가져 왔다. 이러한 공연예술계의 위축과는 달리 비교적 자유로운 활동을 보장받았던 기생 집단은 전대보다 훨씬 상업화된 공연계의 다양한 요구에 부응하기 위해 다양한 계층의 예술적 성향을 넓게 포괄하였으며, 이러한 움직임이 공연 문화의 대중화를 가속화했다. 이처럼 기생은 공연예술계에서 독자적인 영역을 점하면서 전통연희의 계승 및 확산을 도모했을 뿐만 아니라, 공연예술의 중계, 시장 형성, 전파 등을 통해 대중예술의 근간을 형성하였다. 여성 연희의 상당 부분을 담당했고, 새로운 문화의 생성과 소비에 중심이 되었던 기생에 대한 접근은 사회가 점차 근대화되어 감에 따라 전통예술이 사회의 지배적인 문화양식인 소비문화 혹은 대중예술로 이행되어 가는 과정에 대한 연구를 위해서도 필수적이라 할 수 있다.

Weight that kisaeng who took charge tradition Yeoak and most of woman play in flow of world of art early 20th century that woman could not be active with spiritedness independently occupies was huge. That is art introduced on running story that <매일신보> is <藝檀一百人> for year in 1914 of affection period of ten days, kisaeng is occupying all if except 8 man play. That kisaeng's weight was not small as play person even if consider intention of <매일신보> to heighten the subscription rate report who do circumstantial evidence be. If examine situation of performance world of art at that time with kisaeng as the central figure serialized <藝壇一百人>, kisaeng was group which is example that had the most lively performance activity present age through various Repatori. Artist mass of performance regulation who lead fall of royal family and common people play since Japanese annexation of Korea brought big discrepancy in tradition play succession with loss between play ball. Unlike curling up of these performance world of art comparatively free activity kisaeng group guaranteed that included artistic inclination of various class extensively to meet on various request of performance commercialized far than former generations such that that move popularization of performance culture accelerate. In this way, kisaeng formed recent publication of populace art through intermediation of performing art, market formation, electric wave etc. as well as planed as occupying individual area succession of tradition play and spread in performance world of art. Took charge fair part of woman play, and approach about kisaeng that got into center in creation and consumption of new culture can do that is essential for research about process ordered by consumption culture or populace art that tradition art is social dominate culture pattern according as society is modernized gradually.

Weight that kisaeng who took charge tradition Yeoak and most of woman play in flow of world of art early 20th century that woman could not be active with spiritedness independently occupies was huge. That is art introduced on running story that <매일신보> is <藝檀一百人> for year in 1914 of affection period of ten days, kisaeng is occupying all if except 8 man play. That kisaeng's weight was not small as play person even if consider intention of <매일신보> to heighten the subscription rate report who do circumstantial evidence be. If examine situation of performance world of art at that time with kisaeng as the central figure serialized <藝壇一百人>, kisaeng was group which is example that had the most lively performance activity present age through various Repatori. Artist mass of performance regulation who lead fall of royal family and common people play since Japanese annexation of Korea brought big discrepancy in tradition play succession with loss between play ball. Unlike curling up of these performance world of art comparatively free activity kisaeng group guaranteed that included artistic inclination of various class extensively to meet on various request of performance commercialized far than former generations such that that move popularization of performance culture accelerate. In this way, kisaeng formed recent publication of populace art through intermediation of performing art, market formation, electric wave etc. as well as planed as occupying individual area succession of tradition play and spread in performance world of art. Took charge fair part of woman play, and approach about kisaeng that got into center in creation and consumption of new culture can do that is essential for research about process ordered by consumption culture or populace art that tradition art is social dominate culture pattern according as society is modernized gradually.

kisaeng, <藝壇一百人>, Commercialization and popularization of performing art