초록 열기/닫기 버튼
This research examines the Changgeuk Mr. Rabbit and the Dragon King directed by Achim Fryer (2011) by using theory of cultural translation. I regard this Changgeuk(=also known as pansori opera) as having been translated abstract language of the stage, and consider its position between Korean and German Cultures. This research describes Fryer as a cultural translator and discusses the meaning of the new identity and sensibility created by him. Some distinctive features of Fryer’s abstractive drawing stage were to create flat surface and slow rhythms, which were intended to communicate in mind with spectators in response by visualizing symbolic image of Mr. Rabbit and the Dragon King. This method differed from realistic direction making visual images of musical symbols. The stage sets of Mr. Rabbit and the Dragon King were very intensive compared to pansori music. The stage sets seemed not to accord with the aural elements. However, after careful research, I found that Fryer could not transform Jeong Kywang Soo’s pansori, which is known for its splendid and varicolored musical rhythm and tone. However, the musical accompaniment and mise-en-scéne of Mr. Rabbit and the Dragon King have never been seen before. The musical accompaniment of the production was using elements of min sok ak(民俗樂, Korean traditional folk music) and gung sung ak(宮中樂, Korean traditional court music) such as san-jo(a traditional Korean jazz-like musical style), which creates harmony from dissonance. It is therefore a hybrid musical style and genres, displacing musical boundaries. The visual imaging of Jeong Kwang Soo’s original pansori symbolizes Chinese ink painting on the stage. It embodies the rough and strong voice color of Jeong and indeterminate mask design. I discuss how these aspects of the performance give spectators a special experience of ‘liminal’ sensitivity and investigate how this ‘liminal’ sensitivity could be characterized and staged in the production. In addition, I extracted eight different meanings of Fryer’s abstractive drawing translation in body of this research. Communicating with the audience in the abstractive drawing stage, as in Pansori performance would have been a problem for Fryer, and he could have been criticized for his insistence on using only Korean instruments. However, it is a positive thing that Fryer recognized the value, artistry and musical universality of the traditional genre of pansori, even though pansori is not known as Japan’s Noh(能) or Kabuki, or China’s Beijing Opera, Additionally, Fryer’s suggestion of universal community spirit in opposition to conflict between peoples of the West and East or The North and South through abstractive drawing stage is valuable thing.
키워드열기/닫기 버튼
pansori, abstractive drawing stage, cultural translation, a cultural border (space), liminality, oikos rationality
