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1950's Hybrid(Mixed) sense of Musical drama(Ak-geuk) and Coordinate

  • The Journal of Korean drama and theatre
  • 2020, (68), pp.157-190
  • DOI : 10.17938/tjkdat.2020..68.157
  • Publisher : The Learned Society Of Korean Drama And Theatre
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : May 10, 2020
  • Accepted : June 19, 2020
  • Published : June 29, 2020

MyungMun - Chung 1

1한양대학교

Accredited

ABSTRACT

This study produced a list of actual works based on Hwangmun-pyeong's sheet music(musical note) to interpret the appearance and meaning of the music drama(Ak-geuk) in the 1950s. The works with music and scripts were the works of Huimang(Hope)Gageuk-dan, Jayu(Freedom)Gageuk-dan. Hwang Moon-pyeong's works confirms the ability of the song to convey emotions, change mood, and replace lines. This is a result of understanding and reflecting music's influence on the sensibility of the play. Until the 1940s, music drama(Ak-geuk) plays were implemented on stage by choosing between 'sorrow' and 'comedy' emotions. Hwang Moon-pyeong and Park Noh-hong's work tries to show both emotions. The first half was vibrant, with the middle part composed of adding a sense of timidity to the character's ordeal. In the 1950s, the music drama(Ak-geuk) was maintained with overlapping actors, similar repertoires and self-replicating songs. Currently, the music drama(Ak-geuk)is remembered for its old style of singing, playing a small band and narrated by a speaker. The reason why the music drama(Ak-geuk) remains a show combined with Korean Sinpa is because it is suitable for displaying romanticism and popularity. Recently, "Mimi's Youth Theater(Hyperbolae Of Youth)"(2016) was able to produce resonant performances with the public due to the singer's performances and musical arrangement. Even if the content is the same, the genre's success or failure depends on how the performer looks at the audience. In the end, there should be a lot of interesting materials and various attempts, along with actors and music on stage. Currently, the Korean music theater market is in a 'crisis.' Musicals have a variety of problems because of their rapid growth. They include the number of works that exceed the size of the market, the production structure that relies on stars, the maniac-centered market, and the high number of commercialism. These problems are similar to the music drama(Ak-geuk) of the 1950s. This proves that it is difficult to change the environment in which the genre begins and the principles that persist.

Citation status

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

This paper was written with support from the National Research Foundation of Korea.