KJCKorea
Journal Central

<Baebijang-jeon> has been performed as pansori sincethe mid18th century, but its transmission was interrupted in later years as the original singing style was lost. However, in modern times, it has uniquely continued to be adapted into changgeuk, despitetherarity of live pansori performances. Notably, the National Changgeuk Company has consistently staged the changgeuk <Baebijang-jeon> seven times between 1963 and 2012, excluding revivals. This paper examines the character portrayal and singing strategy in the early productions of the National Changgeuk Company’s <Baebijang-jeon>, focusing on the 1963, 1975, and 1988 adaptations, scripted by Lee Sang-woon and composed by Kim Yeon-su. Changgeuk, targeting not only pansori enthusiasts but also the general public, required popularization strategies for each era. The primary strategy for <Baebijang-jeon> was to emphasize its comedic elements. Additionally, major characters were adapted to emphasize ethical ideals, similar to the five traditional pansori repertoires, thereby giving Baebijang, Moksa, and Aerang positive images. The heroine, Aerang, transformed from a femme fatale in the novel to a virtuous and wise woman, displaying strong will and achieving her love, which was clearly depicted through thesinging. While elements of changgeuk’s popularization strategies are evident in <Baebijang-jeon>, traditional features seen in the five transmitted pansori repertoires or conventional pansori also appear. This could reflect the creators’ and performers’ choice of familiarity based on their extensive experience and performance of pansori. This familiarity signifies their internalized affirmation of the traditional pansori repertoires and the worldview they embody.

Changgeuk, Baebijang-jeon, National Changgeuk Company, Lost song Pansori, Composition of Pansori