〈수궁가〉창본의 극적 갈등양상과 의미

The dramatic conflict aspect and meaning in Sugoong-ga Changbon

  In consideration of conflictive aspects which were demonstrated in Sugoong-ga Changbon(a vocal music script) in the framework of drama, this paper aims to reflect on the meanings of the script. The research was conducted mainly along with Tobyeol-ga Shinjaehyo-bon, Sugoong-ga Kimyeonsu-changbon, and Sugoong-ga Ohjeongsuk-changbon, producing outcomes as follows:   First, Kim and Oh enrich Shinjaehyo-bon"s Tobyeol-ga, adding the story in which Byuljuboo announces that the hare can not get the position, followed by sudden death in misfortune, and further, they focus on "the hare"s identity issue" rather than "the hare"s environmental point", resulting in the scenario in which the hare and Byuljuboo first face with dramatic confrontation, but settle their conflicts in the end.   Second, Oh intentionally omits the passage from Shinjaehyo-bon, Kimyeonsu-changbo that the hare sobs, fabling that he did not bring his liver without knowing the dragon king"s intention, but instead, she directly links to the story in which the hare shows boldness, asking the king to disembowel him, which embosses the confrontation between the king, the strong and the hare, the weak.   Third, Kim and Oh develop the story from Shinjaehyo-bon, inserting the phase that the hare releases Byuljuboo of whom he has made mock, by which they make a focal point of deconfrontation between the hare and the dragon king.   The reason of pursuing comic spirit through confrontation and settlement is mainly originated from the scheme that the nature of Sugoong-ga Changbon changes its character into the tranquilizer to the pain of psychological conflict via the aspirin of social laughter.   Fourth, Kim and Oh make adjustment of tension not by hical morality in narrational structure, but by successive generation in dramatic framework, using dramatic plot languages.   Most of all, the purpose of producing the dramatic irony(In the story, the writer makes the dragon king act without recognition of his life or death.) with this adjustment is that the cultural characteristic of Pansori, a narrative song, becomes changed up to the high position.   On the other hand, the adjustment of the conflict structure of Sugoong-ga makes possible to prospect upcoming future from the side of soripan, a narrative song genre, open up new vistas from the viewpoint of Pansori performer, and get the present identified from the perspective of pansori audience. In addition, it takes hold of its meaning in performance culture, in which it identifies historical facts in the sense of Pansori changbon.