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The Signifier and the Formation of Identity of ‘K-musical’

  • International Journal of Glocal Language and Literary Studies(약칭: IGLL)
  • Abbr : IGLL
  • 2024, (18), pp.281~296
  • DOI : 10.23073/riks.2024..18.020
  • Publisher : Glocal Institute of Language and Literary Studies(GILLS)
  • Research Area : Humanities > Other Humanities
  • Received : November 25, 2024
  • Accepted : December 23, 2024
  • Published : December 31, 2024

Choi, Seung-Youn 1

1경희대학교

Accredited

ABSTRACT

This thesis deals with the historical flow and identity of K-musical as an attempt to observe and analyze the contemporary musical scene, where the transnational flow of musicals is further strengthened. The term K-musical was mentioned in the public sector when CJ EnM was established in 2011 and began to be used in the private sector as well. CJ EnM, which was promoting the globalization of musicals by strategically sharing the infrastructure of the Korean Wave, declared the concept of “One Asia Market” and tried to distribute “K” as the content of global business by forming the three countries, Korea, China, and Japan, or the entire East Asian region into one block. At the time, the concept of “One Asia Market” was assumed to be a musical block, and it was actually taking shape in 2024, when Korean musical was recognized as East Asian software. The concept of K-musical currently distributed in East Asia is directly related to the capabilities of the Korean musical field, and above all, takes on the context of “guaranteed workability and box office performance in the Korean market.” This means that “K” does not show a direct correlation with the a priori perception that it is “Korean,” but rather shows a closer relationship with the “commercial success” seen by small and medium-sized theaters in Daehakro that have been exported a lot to the East Asian market. Meanwhile, Korean musicals to advance into the Anglo-American world tend to pursue the conservatism of large theaters and related universalism, and through this, K’s identity is coordinated at the point where it meets the identity of “show” of large British American theater musicals or promotes the romanticity of musicals.

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