This study is designed to make a general examination of ‘performance in male role-playing’ in yeoseong gukgeuk (‘the traditional Korean musical theater with female performers’). For this purpose, I have surveyed the formation, development, a... This study is designed to make a general examination of ‘performance in male role-playing’ in yeoseong gukgeuk (‘the traditional Korean musical theater with female performers’). For this purpose, I have surveyed the formation, development, and decline of yeoseong gukgeuk. Yeoseong gukgeuk started as a changgeuk (‘Korean classical opera’) in the new theater which was formed as a subcategory of pansori, but, unlike changgeuk, it is a performing art that includes luxurious and spectacular stage machinery as well as dance and acting. Above all, I have seen that, as what transpired in the development of yeoseong gukgeuk, the spectacular stage direction, the popularization of yeoseong gukgeuk through ‘performance in male attire’, and solid acting practice through actor training served as the energy that gave rise to the heyday for yeoseong gukgeuk. Coming into the 1960s, yeoseong gukgeuk fell into an abrupt decline, and the cynosure for its prosperity and decline was Im Chun-aeng, its star actress. Performing a central role in yeoseong gukgeuk, Im Chun-aeng enjoyed such fame in the whole society which was attested by her epithets like ’unparalleled yeoseong gukgeuk actress’, ‘incomparable performer in male attire’, and ‘best-selling performer’, that they paid much attention to stage machinery, costume, and makeup. In order to create the best possible stage for audience, they hired the best stage directors of the times and thereby presented a spectacular stage. And the introduction of partitioned space and stereoscopic stage machinery suggests that they made unstinted investment in their theatrical presentations. ‘performance in male role-playing’shown in yeoseong gukgeuk may be safely said to constitute the kernel of yeoseong gukgeuk, which had its heyday in the 1950s. In this study, I view the typical style of ‘performance in male role-playing’ as androgyne, representing ‘bisexuality’ in the male-female dichotomy, as a new concept of gender. Furthermore, we see that as the best gukgeuk star who virtually monopolized ‘roles in male attire’, Im Chun-aeng made the audience mistake her for a man with her ‘bisexuality’, which she highlighted ‘the performance in male role-playing’ with the image of pure love as in The Sun and the Moon and with her masculine gestures, realistic amorous expression, and excellent dance for the heroic performance in Coral Brace. In this study, I also give attention to the types of presentation for yeoseong gukgeuk and related efforts that have lasted from 1980 to the present time in 2016, with a view to a modern-day revival of ‘performance in male role-playing’ after the erstwhile absence of yeoseong gukgeuk. And I have come to see that it is impossible now, as was not the case during the hey day for yeoseong gukgeuk, to present a realistic performance as a role in male attire, due to the absence of actresses who can carry yeoseong gukgeuk and its current presentation heavily depending on senor actresses in their seventies. Furthermore, I have seen that as a factor for the decline of yeoseong gukgeuk, the absence of training attests to the current total crisis of yeoseong gukgeuk. Nevertheless, I have come to see that the ‘bisexuality’ in ‘performance in male role-playing’, which was th success factor for yeoseong gukgeuk, is established as a code in the modern popular culture and is reflected in the current society through various subject matters and characters, thus delivering vicarious gratification to the public. Much time and effort are required to help yeoseong gukgeuk, which was on top as one of the popular plays in the 1950s, establish itself amidst today’s diverse cultural genres and soar again as another entertainment performance. The perception of yeoseong gukgeuk as an effort for the public underlay the success of Im Chun-aeng, the icon for yeoseong gukgeuk during the 1950s. This should be the value that remains valid and important even today. And her efforts for nurturing junior actresses suggest a lot to us. ，免费韩语论文，韩语毕业论文 |
