ScholarWorks@숙명여자대학교

초록

<Baebijangjeon> is a lost song pansori, and its two remaining versions were recorded in written forms in the early and middle part of the 20th century. Moreover, not many written records of it exist. The uncertainty of its text has always presented a problem in the study of <Baebijangjeon>. However, given that, while <Baebijangjeon> is the lost song pansori, it is actively accepted in various genres and the media, it is necessary to examine how <Baebijangjeon> has changed, focusing on the two remaining versions. Among the various modern styles of the works <Baebijangjeon> that were accepted, <Saljjagi Opseoye>[sweet, come to me stealthily] was successful as the first creative korean musical. As a popular modern musical drama succeeding the traditional musical drama style, it is worth studying since <Saljjagi Opseoye> significantly altered the characteristics of characters, structure, and theme in <Baebijangjeon>. Accordingly, this study examines how <Baebijangjeon> narratives are accepted in modern times by comparing the pansori <Baebijangjeon> and the musical <Saljjagi Opseoye>. <Baebijangjeon> narratives began as sohwa[funny story], settled down as pansori, and, in modern times, as the lost song pansori, were performed as changgeuk, eventually transforming into musical. Pansori, changgeuk, and musical possess a common feature in that they are all musical drama. However, in terms of narrative, it has gradually changed. <Baebijangjeon> narratives were comedic from sohwa, and pansori, to changgeuk. But, the contents has changed in modern times, and is conspicuous in <Saljjagi Opseoye>. This study considers the comic aspects of <Baebijangjeon>. The rigidity and un-sociability of Baebijang[military attaché Mr. Bae] produces laughter, and, the structure of deceiving him by "bet and conspiracy" is comedic, separating the audience from Baebijang, and enabling them to laugh at him without feeling pity. <Baebijangjeon> reveals the happy ending by improving and correcting both Baebijang and the audience through satire and humor. In contrast, in <Saljjagi Opseoye>, Baebijang and Aerang are characters with pure hearts, and the work reveals their internal conflicts and emotional transformation until they come to love each other. Their change of personality influences the work's narrative structure as well, as the bet and conspiracy transforms into success in love by overcoming an ordeal. Thus, the story changes from a comic narrative to a melodramatic narrative. The story is modified from one wherein a hypocritical person is humiliated by relinquishing his integrity through the conspiracy of people around him to one where a sincere lower class protagonist wins love by overcoming difficulties caused by upper class characters. The theme of satire and humor is altered to a theme of love and empathy. The implications of the modern acceptance of <Baebijangjeon> narratives can be understood as a hybridity of genres and emotional differences in the audience following societal changes. <Baebijangjeon> narratives constructed in the late Joseon period were renewed as popular commercial works by combining melodrama, popular contemporary narrative styles, and adding novelty to familiar stories. Moreover, with the disappearance of the class system, laughter was transferred from groups of different classes to common individuals, changing aggressive laughter to emphatic laughter, thus ensuring that Baebijang and Aerang's love became natural and touching.

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