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A Study on Types of Female Representation in Korean Opera

  • Journal of the Korean Society for Musicology
  • Abbr : JKSM
  • 2026, 34(1), pp.97~136
  • DOI : 10.34303/mscol.2026.34.1.003
  • Publisher : The Korean Society for Musicology
  • Research Area : Arts and Kinesiology > Musicology > Other Musicology
  • Received : April 30, 2026
  • Accepted : May 24, 2026
  • Published : June 30, 2026

Minhee Lee 1

1경북대학교

Accredited

ABSTRACT

This study examines the patterns of female representation in Korean opera. The findings reveal that Korean opera exhibits distinctive forms of representing women, which can be categorized into six types: first, women as “cultural symbols” within a traditional culture package; second, “victimized women” who experience historical tragedies; third, various forms of female heroes; fourth, “mothers” and “wives” who narrate the achievements of male heroes; fifth, “gisaeng as lovers” of male heroes; and sixth, “weak villainous women” positioned beside male heroes. These six types of female representation appear repeatedly in Korean opera and are closely related to production methods, the discourse surrounding opera creation across different periods, and the intentions of the producers. Specifically, women as “cultural symbols” within a traditional culture package emerged during the early stages of opera production, when efforts were made to combine traditional culture with opera. “Victimized women” appeared in the process through which particular groups sought to publicize historical events and memories. Meanwhile, mothers, wives, gisaeng, and villainous women alongside male heroes emerged in the process of promoting and establishing specific male heroes.

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