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In June in 2007, there was a performance in Nanjing where the Chinese version of The
Romance of Three Kingdoms‐ Oh, which is a remake version of the Korean Madangnori The
Romance of the Three Kingdoms. I was a member who participated in the process of the
production of The Romance of the Three Kingdoms‐ Oh. Through a self‐critical perspective, I
discuss the process of Chinese acculturation in The Romance of the Three Kingdoms‐ Oh.
Early before, the Madangnori was an amusement held in the open yard to release the stress
from daily life through our national heartstrings. It reduced the stress level of the citizens as well
as provided vitality in life. Later, the Madangnori assimilated various traditional theatricals and
inherited the dramaturge of Pansori, a kind of I person performance of folk singing. Also, it
followed the aesthetics of the outdoor play of the mask dance, thus gaining a comprehensive
artistry, scenery, and improvisation.
The Madangnori, which possesses these features, secured a consistent number of audiences
nowadays through assimilating traditional theatrical culture and establishing a unique style of
theatrical genre. The traditional folk singing Pansori provided a firm basis for this success. In a
similar sense, the theatrical troupe Michoo’s Madangnori The Romance of the Three Kingdomsis
formed on the basis of the Pansori script of The Song of the Jeokbyuk Battle in an aspect of
traditional artistry inheritance with its’ expressions in humor and satire.
The Madangnori contributed to the change of image of the Pansori which was transfigured as
a recreational culture of the privileged ones around the 19th century. As a result, the folk spirit of
the Pansori revived and the scope of audience expanded. This provides an implication of
overcoming the simplicity of the traditional inheritance, as well as regaining and extending the
traditional essence.
Luckily, the Michoo’s Madangnori The Romance of the Three Kingdoms was invited by the
Group of Jiangsu Performing Art and co–produced it’s Chinese version with the help of the
Korean Cultural boom. The Madangnori The Romance of the Three Kingdoms changed its title to
The Romance of the Three Kingdoms‐ Oh in order to develop the story putting an emphasis on
the country ‘Oh’ of ‘Jiangsu province’. It also reproduced the performance suitable for the public
by using active and exciting dance composition and music.
At the same time, it had succeeded in localization by filling exciting Chinese sightseeing in
the stage. However, participation of the audience was limited due to the structural design of the
stage where people had to look up actors. Also, the socialism of China prevented the use of
strong sarcasm and criticism toward the society which is one of the essencial feature of the
Madangnori.
Keywords: The Theatre troup Michoo’s Madangnori The Romance of the Three Kingdoms, Chinese
remake version The Romance of the Three Kingdoms‐Oh, Pansori The Song of Jeokbyuk(Chibi) Battle, The implication of overcoming the simplicity of the traditional
inheritance, as well as regaining and extending the traditional essence. The sarcasm and
criticism toward the society which is one of the essencial feature of the Madangnori.