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Invented Grief and the Solidarity of Sensibility - A Study on the Variations of the Original Novel and the Fandom of Musical Frankenstein(2014) -

Seungyoun Choi 1

1고려대학교

Accredited

ABSTRACT

The starting point of this article is to ask why Frankenstein has been successfully performed on the Korean stage as an original Korean musical in 2014. Frankenstein can be analyzed as a critical text because of these following reasons; firstly, Frankenstein is the newly produced text of popular culture which dealt the original novel by Mary Shelly with not the perspective of stereotyped B-list imagination but more like the perspective of Mary Shelly, secondly, Frankenstein was the successful large-sized original Korean musical which eliminated the discourse of tradition and lastly, Frankenstein fully reinforced “sad fantasy” on the context of mystery-thriller musical which has been featured the “sad and lonely monster” as a leading character. To complete the purpose, this article sheds light on the variations into musical through three key words, that is “Creation of the monster”, “the Body of the monster”, and “the Recognition of monstrosity.” As a consequence, one unique directivity was sensed. The variations focused on the effectiveness of sentimentalized text practically using the grief and irony. However, this methodology caused the lack of probability in the narrative of musical and it can be said as a weak point of musical Frankenstein. The interesting point is that it was the variation method that was influential rather than the weak point in the actual fandom’s enjoyment sphere. This can be clearly observed in the reactions of the production team members of Frankenstein memory book, who led the fandom of Frankenstein. As they sympathized the “sad” stories of the characters as well as connected the stories to their own lives, Frankenstein got a significance not through the artistic alienation but through the individual recreation. This aspect of the fandom’s enjoyment brought about the production of consumer’s derivative works; on one hand, the exclusive distribution of the memory book just within the fandom’s community and on the other hand, the intensive distribution of the animation by posting on the youtube site. These all works should be called a kind of participatory culture in the local Korean musical industry.

Citation status

* References for papers published after 2022 are currently being built.