KJCKorea
Journal Central

This thesis aims to seek for the changes and meanings by revealing theorigin and source of Gakseori(Beggar) and <Gakseori Taryeong(Beggar’sSong)>, and also examining the editorials transmitted from Pansori andfolk songs. First, through the existing researches related to <GakseoriTaryeong>, this study understood the derivation, origin, and contents ofGakseori. And this study also inferred the process in which a group ofbeggars was changed into ‘Gakseori’ through <Gwangmunja-jeon> byPark, Ji-Won and <Hangyeongsa> by Kang, I-Cheon. Despite thelow-level of entertainment, the streets of Seoul in the 18th centuryshowed the looks of people who were begging. Especially, this study paidattention to the fact that Gwangmun was able to handle or make use ofdiverse theatrical items as a beggar. This attitude of Gwangmun showedthe aspect of combination between begging and play in the group ofGakseoris. The oldest editorials of <Gakseori Taryeong> might be the onesshown in <Heungbo-ga> and <Byeongangsoi-ga> by Sin, Jae-Hyo. The<Gakseori Taryeong> of the 19th century by Sin, Jae-Hyo was entrainedin the order of appearance of a group of Gakseoris, introduction, JangTaryeong(Jeon Taryeong), dance by the group of Gakseoris, and JalhandaTaryeong. In the modern Pansori, the <Heungbo-ga> was the only one showing the <Gakseori Taryeong>, and this study representativelyexamined the editorials of Park, Bong-Sul’s version, Park, Dong-Jin’sversion, and Kim, Yeon-Soo’s version. Park, Dong-Jin and Kim,Yeon-Soo borrowed the editorial by Sin, Jae-Hyo while Park, Bong-Sulshowed the transitional aspect by showing the changed <GakseoriTaryeong>. The version by Park, Bong-Sul showed the origin of thecurrent introduction and Gakseori, and the part of small talks, which wastypically continued in modern times. As the folk song <Gakseori Taryeong> in the late 20th centuryaccepted songs like Jang Taryeong and Jalhanda Taryeong of thepreceding time, the typicality of the introduction was formed. As theorigin of Gakseori and all sorts of Taryeong were inserted, theentertaining situation was heightened. Especially, the core included JangTaryeong, Sutja Taryeong, Jalhanda Taryeong, and the origin ofbecoming Gakseori, and based on these common denominators, diversevariations were performed. Through the editorial of <Gakseori Taryeong>, the aesthetics ofcreating a place for play filled with fun, joys, and sorrows was formed. The Gakseori Taryeong created a place for play by using jokes and wordplay as a strategy to arouse fun through the introduction and all sorts ofinserted songs. On the other hand, they also appealed to people’ssympathy and pity by including their pitiful background of birth anddifficulties in begging.

Gakseori, Gakseori Taryeong, Jang Taryeong, Pumba, Beggar, Pansori, Folk Song, Fun, Place for Play